The Marriage of Figaro still sings – 238 years after its first premiere.

Composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte, The Marriage of Figaro is considered one of the greatest operas ever written.  It was inspired by a raunchy, political comedy by French playwright Pierre Beaumarchais. Filled with sex jokes, pratfalls, double takes and the “war between the sexes,” it defies what one thinks of, when one thinks of Opera. I certainly wasn’t expecting that many laughs.

This production of The Marriage of Figaro is directed by Barbara Gaines, founder and Artistic Director of the Tony Award-winning Chicago Shakespeare Theater for 37 years. Conductor Erina Yashima makes her Lyric debut. Together, they have steered this particularly female-led opera into the modern age, while not losing a note of what has kept it relevant for over two centuries.

The stage was designed with lavish minimalism. Set Designer James Noone created one set per act, each growing in opulence and elegance. The show opens in the bedroom of titular character Figaro (played by Bass Peter Kelner) and his Fiancée Susanna (Soprano Ying Fang). It’s covered in laundry and warm wooden panels. The next set is almost entirely the rich, ridiculously large bed of Countess Almaviva (Soprano Federica Lombardi). The third act is a room draped in chandeliers, and the fourth, a sculpture garden bathed in the dancing lights of a real pond, thanks to Emmy winning Lighting Designer Robert Wierzel.  Costume Designer Susan Mickey created an opulent, fresh look for every character that honored the era they were created in and still placed this production squarely in 2024. Every cast member was dressed in bright, playful and richly colored and textured fabrics. I could almost feel the velvet, brocade and silk. That old movie ad, “Now in Technicolor!” kept ringing in my head.

The story itself is a silly one. Servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna in an old tradition called “first night” when a Lord had the right to sleep with the bride of any of his servants (or subjects), and teaching him a lesson in fidelity. Figaro and Susanna have help from the Countess Almavira, who pines for her unfaithful husband. Their cause is complicated by amorous teenager Cherubino (Soprano Kayleigh Decker in the “Trouser” role, and a very convincing teenage boy), and by a plot of the count’s to marry Figaro off to an older woman, Marcellina (delightful Mezzo-Soprano Sarah Mesko). Various shenanigans ensue, largely driven by the women of the cast.

Yet, despite the silliness, the goofy characters and the bright colors, the music Mozart wrote over two centuries ago transcends it all. The entire cast sang impeccably, but even then, there were moments in the three-and-a-half-hour production when time seemed to stop. Kelner sets the tone with his rich Bass in Se Vuol Ballare. The duet in Act III, Sull’aria, between The Countess and Susanna, was achingly beautiful, Lombardi’s rich tones blended perfectly with Fang’s.

Ying Fang’s rendition of Deh! Vieni, non tardar was so consuming, so controlled, that during a phrase where she held a note just a few decibels above a whisper, there was an unexpected and emotional smattering of applause. The performance was a reminder that the best art is always a work of collaboration: the mood created by the set and light design was wonderfully blue, Ying Fang sang exquisitely, the orchestra supported her flawlessly, and Mozart’s music was (and is) perfect.

If you’ve ever wondered what the fuss is about when it comes to Opera, this is the production to see.

Highly Recommended

Reviewed by Alina C. Hevia

Presented at the Lyric Opera of Chicago. Shows run from November 9 to 30, 2024. Tickets range from $42-$239. For more information and tickets, visit lyricopera.org/figaro or call 312.827.5600.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.