PREVIEW
The Marriage of Figaro
Edmonton Opera
Feb. 1, 4 and 7
Northern Alberta Jubilee Auditorium
11455 – 87 Ave.
Tickets: Adults start at $29, youth starts at $20. Visit edmontonopera.com/tickets
A rich and powerful man pesters a young female employee to have sex for some quick entertainment. Sound familiar?
No, it’s not the most recent sexual harassment scandal pouring out of Hollywood, New York or Washington. It’s the plot of the 1786 opera The Marriage of Figaro running at Northern Alberta Jubilee Auditorium Feb. 1, 4 and 7.
The opera’s prickliness comes from the plot’s lechery – Count Almaviva’s desire to exercise the medieval inspired “droit de seigneur,” the right of nobleman to have sex with an employee on her wedding night.
In this case, the bride Susanna, maid to Countess Rosina Almaviva, is a clever young woman who has eyes only for her fiancé, Figaro, the Count’s servant.
Powerful men using sexual aggression against women who need to make a living is a heavy, far-reaching topic that continues to make headlines today.
But Mozart made the opera a light comedy with Susanna, Figaro and the Countess working together to thwart the Count’s lustful ambitions.
Soprano Caitlin Wood is the quick-witted and resourceful Susanna, a woman with modern ideas about choosing her own future and the man she will share it with.
“She’s the maid. But although Susanna is of the lower class, she’s the one who holds the power whether it’s knowledge or knowing how to manoeuvre out of situations, she has the upper hand,” said Wood, 31, (Cenerentola/Cinderella).
The former St. Albert resident, now based out of Toronto, has a distinct advantage in taking on Susanna. She performed the role in 2017 at Vancouver Opera House under the direction of Rachel Peake.
At the time, Jessica Werb from the Georgia Straight wrote, “Wood is an absolutely vibrant Susanna, with a clear, sweet voice, just a touch of young sensuality, and enough girl-power attitude to keep her interesting.”
Wood noted, “When I did it the first time, it was a big role and I had to wrap my head around it. With this role, I’ve had the opportunity to dig deeper. She’s a little feistier. She doesn’t put up with anyone trying to trick or play her. The Count tries to sleep with her, but she’s doing everything in her power not to.”
The Marriage of Figaro is an opera adapted from a comedy written in five acts by Pierre Beaumarchais. The play formed the basis for librettist Lorenzo Da Ponte and composer Mozart’s critique of the aristocracy.
“It’s strictly my opinion, but Mozart’s music is literally perfect. He was an incredible talent and very gifted. There is never a note that is put on or wanting more. It is so clear what the character must do. He lays out the music, the comedy and the emotion of the character.”
French-Canadian bass-baritone Simon Chalifoux makes his company debut as the charming Figaro. Baritone Phillip Addis as Count Almaviva and Lara Ciekiewicz as Countess Almaviva reprise their roles from the Vancouver production.
Peake once again directs the opera and Sid Neigum’s costumes, also introduced at the Vancouver production, blend a traditional and futuristic design.
“The Marriage of Figaro bridges fantastic comedy, unbelievably beautiful music, a stellar cast and real human relationships.”
