The Marriage of Figaro – Courtesy of Dennis Ryan Kelly – Used with permission.
The Marriage of Figaro – Courtesy of Dennis Ryan Kelly – Used with permission.
I spent my weekend joyfully immersed in Wolfgang Amadeus Mozart: on Saturday, I saw Catalyst Repertory Theatre‘s Amadeus (see my review here) a fictional play about his life, and, coincidentally, on Sunday, Indianapolis Opera staged The Marriage of Figaro at the Toby Theatre at Newfields. Regarded as one of the greatest operas of all time and the most perfect by Mozart aficionados, the work that is still a crowd favorite, premiered in Vienna in 1786.
Set in a Spanish aristocratic household, The Marriage of Figaro follows the title character, a clever servant, as he prepares to marry his beloved Susanna. However, their plans are complicated by the scheming Count Almaviva, who attempts to seduce Susanna, and a host of other characters with their own agendas. Through witty plots, mistaken identities, and clever maneuvering, Figaro and Susanna ultimately outsmart the Count, restoring harmony and justice. The opera is celebrated for its lively music, intricate ensemble scenes, and satirical exploration of social class and romantic relationships. Even for those unfamiliar with or indifferent to opera, this piece resonates by capturing the complexity of humanity.
The Marriage of Figaro – Courtesy of Dennis Ryan Kelly – Used with permission.
The three-hour IO production, with one intermission, kept me engaged throughout thanks to its strong entertainment value and an outstanding cast of seven principal performers, all exceptional as singers, actors, and comedians. Directed by A. Scott Parry, with Dr. Jessica Burton as Stage Director, the production featured impressive leads, including Jason Fox (Figaro), Rachel Kobernick (Susanna), Rebecca Krynski Cox (Countess), Jorell Williams (Count), Elise Miller (Cherubino), Rafael Porto (Don Bartolo), and Cara Collins (Marcellina).
Also displaying their vocal and dramatic talents were Ian Michael (Antonio) and Antonio Donimo (Don Basilio & Don Curzo), Rachel Purvis (Barbarina) and the eight member IO Ensemble.
Standing out was Soprano Rebecca Krynski Cox as the Countess, singing Dove sono, baritone Williams who performed Hai gia vinta la causa as the Count; bass baritone Jason Cox who sang Non piu andrai; soprano Kobernick was Susanna in Deh vieni, non tardar; and mezzo soprano Miller who sang Voi che supete. The ensemble, with everyone singing different things in phenomenal harmony, shone in the Act 2 Finale of Esci omail, garzon mainato and were stunning in the Act 4 finale of Contess, perdono.
The outstanding 20-member Indianapolis Opera orchestra, under the direction of guest conductor Dr. Bernard McDonald, delivered a flawless performance of Mozart’s timeless score—including the frequently performed four-minute Overture, one of classical music’s most popular pieces.
The Marriage of Figaro – Courtesy of Dennis Ryan Kelly – Used with permission.
The opera’s high production values were evident in the work of Lighting Designer John P. Woodley, Scenic Designer Valeryia Nedviga, Wig Designer Brittany Rappisen, and Utah Symphony/Opera’s costume designer Susan Memmott.
Approaching his tenth anniversary as General Director of the city’s only professional opera company, David Craig Starkey has overseen a period of renewal for IO. Under his leadership, the company has presented a diverse range of fully staged operas while maintaining strong financial stability. The recent production of The Marriage of Figaro exemplifies Starkey’s commitment to making opera affordable, inclusive, and accessible. His impact on Indiana’s arts community is significant and enduring.
