Welsh National Opera at Milton Keynes Theatre

31st March 2009

Welsh National Opera has much to recommend it. Not only is the standard of their productions generally high, but they also make considerable efforts to promote the Welsh language - through Welsh programme synopses, a Welsh version of the website, and even Welsh surtitles - although English translations are, of course, available for the less knowledgeable, which unfortunately does include me.

But one aspect of Welsh National Opera’s work that stands out in particular is their significant commitment to furthering the careers of young singers. Such commitment, of course, is a feature of many opera companies’ work, with the Royal Opera’s and English National Opera’s both having a very successful scheme for young singers (it was a former ENO Young Singer, indeed, who took the role of Susanna at this performance, and a recent graduate of the Royal Opera’s Young Artist Programme who, earlier in the run, sang the role of the Count) and one of course cannot forget the assistance Glyndebourne has given to the singers making up their Chorus, many of whom are now among the world’s greatest artists.

Welsh National Opera, however, perhaps go one step further. David Soar, who sang the role of Figaro, was just a few years ago a member of their Chorus, singing the odd small role such as the Captain and Zaretsky Eugene Onegin and Dr Grenvil La traviata. Mr Soar then went to the National Opera Studio, and following his return to WNO as an Associate Artist was subsequently rewarded with the title role in WNO’s new production (a co-production with Gran Teatre del Liceu) of Le nozze di Figaro.

I do admit to having had some small concerns about whether Mr Soar was ready for such a demanding major role, but, of course, I was completely wrong: Welsh National Opera always cast their operas well, and this was no exception. Mr Soar was excellent. He gave a very energetic performance – simply to be able to sing the role demands a significant amount of vitality, and, in order to present the character, still more vigour is required. Mr Soar’s Figaro was very amusing, but there was also great depth in his characterisation. Even in the lighter moments, he gave a strong sense of such aspects of Figaro’s character as his devotion to Susanna, for example. Once Mr Soar is no longer an Associate Artist, he will most likely have further opportunities to return to WNO. Camilla Roberts and Wynne Evans, currently signing Adina and Nemorino in WNO’s L’elisir d’amore, are both former Associate Artists.

Another singer to whom WNO has given a provided opportunity is Eddie Wade. I am not sure whether the Primi Divi were writing reviews when he appeared as the Indian in the ROH’s The Bartered Bride, but he provided one of those quite marvellous moments that remain in one’s mind for years afterwards, and perhaps forever. All in a couple of lines. So it was very exciting to see he was going to be singing the major role of Count Almaviva. Mr Wade did not disappoint. As well as investing the role with great comedy – it was very difficult to dislike the unfortunate man – he also sang beautifully, and I’m told by the ladies he also looked rather handsome in his tennis outfit.

The Countess was sung by Rebecca Evans, an acclaimed Susanna who has also recorded the role of Barbarina. Miss Evans sang beautifully, and her interpretation of the Countess was very moving. I do confess to being a little disappointed to see such a subdued performance from a usually so spirited performer, who seemed ideally placed to make the link between the Countess and Rosina – although, it must be said, if anyone in this opera has reason to feel subdued, it is certainly the Countess. After all, we already have one vivacious soprano in the form of Susanna – or two if one quite rightly counts the very promising Sophie Bevan, a charming Barbarina, and, no doubt, a Susanna of the future. And, indeed, a case might be made for including Marcellina in this list, particularly when performed by the delightful Sarah Pring, in whose interpretation Marcellina’s pursuit of Figaro seemed more like than an attempt to fuel Bartolo’s jealousy than a genuine desire to be Figaro’s wife – a most satisfying reading of the character, given the conclusion of Marcellina’s story, if perhaps not one that can be easily portrayed in so limited a role.

However, the most vivacious lady in the opera must always be Susanna, and Elizabeth Watts was outstanding. Miss Watts’ lovely soprano is ideal for the role, the sound bright as well as enchanting, and her performance was full of warmth, life and humour. Miss Watts was also highly inventive: I’m fairly sure she is the first Susanna I’ve ever seen sneezing the word ‘il suggelo’ as she attempts to communicate to Figaro that Cherubino’s commission was not sealed. Most ingenious, not to mention realistically done and still in tune. She can also sing top Cs whilst lying face down, which really is quite a feat.

I’m aware I’ve taken up quite a lot of space, so I will attempt to do justice to the other singers’ performance in as few words as possible. Understudy Rowan Hellier, replacing Cora Burggraaf as Cherubino, gave a fine performance and genuinely seemed to be enjoying all the frivolity of her role – even the masquerade. Arwel Huw Morgan, singing Antonio, was another of the production’s great comedians, whilst there was also much to enjoy in Henry Waddington’s Bartolo, Jeffery Lloyd-Roberts’ Basilio and Howard Kirk’s Curzio.

Mention must also, of course, be made of conductor Anthony Negus and the excellent WNO Orchestra, who ensured Le nozze de Figaro was a delight from the first bars to the last, although I do wonder whether it was necessary for the singers to decorate their arias quite as much as they did (any timing discrepancies between stage and pit I will forgive as I believe this is a common problem with the venue).

Director Lluis Pasqual and designer Paco Azorin have created a production that won’t be to everyone’s tastes as far as the 1930s updating is concerned – to put it as kindly as possible, such an interpretation isn’t always completely successful due to the complex politics of the opera. However, in practical terms, the production plays to the strengths of the confusions in the plot without making it any more difficult to follow – something I am inclined to value and which is becoming all too rare.

Barry Tone

primi-divi at hotmail.co.uk