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In the world of opera, adaptations are risky, but on Saturday night, Mozart’s The Marriage of Figaro was treated to a modern spin. To put it mildly, messing with the canon is brave, but if adaptation is the artistic vision, then there is no sense being gutless—it is all or nothing.  Ward Holmquist’s vision indeed went all the way under the capable direction of Mark Streshinsky.

This review should not give too much away (assuming Kansas City opera-lovers plan to attend one of the remaining three shows), but some explanation is necessary. The story originally pits aristocrats (Count Almaviva and Countess Rosina) against commoners (Figaro and Susanna) in a twisted plot of infidelity, suspected infidelity, miscommunication, and reconciliation. Instead of librettist da Ponte’s four-act division, the material was simply divided in half (which meant only one intermission and long stretches in the seat). Streshinsky’s version (based on Holmquists’s “interesting proposal”) situated the narrative “behind the scenes” of our own opera theater (the Lyric); this version asks the Kansas City audience to suppose that the Count was instead the Executive Director of the opera company, his wife simply Rosina, the resident diva; Susanna attends to Rosina’s wardrobe and Figaro was posed as the Stage Manager.

This re-working required that the story open with a curtain call (the symbolic curtain call of the Lyric Theatre?), where the audience was allowed to eavesdrop, from “backstage,” on the final scene of a Tosca production at the Lyric. We chuckled as Tosca jumped to her death (only to bounce merrily off of the mattress that cushioned her fall), and then the characters for this opera (within an opera) were introduced. As if the multiple plots built into The Marriage of Figaro were not confusing enough…

Keith Brumley designed a mock version of the Lyric’s backstage spaces and transferred that visual to the onstage set. The new reality re-calculated Mozart’s stand-by in a set boasting three rooms, plus an elevated walkway reachable via spiral staircase (indeed, the blocking opportunities were endless). The multiple rooms, and the variety of activities going on in each, triggered distractions and made for an almost constant alternation between the public and the private. With the action diluted in such a way, the best scenes became those where all involved characters were in a single room (even if that meant five singers were crammed into the tiny powder room).

With so much commotion, there were moments in the opening scenes where voices were muffled behind a more dominant orchestra. Thomas Hammons’ Bartolo was an exception—a strong bass presence came across in his aria “La Vendetta” (“Vengeance”), and he projected well even from the elevated walkway. Andrew Gangestad played Figaro with a naturalness that was show-stopping. “Se vuol ballare” (“If he wants to dance”) suffered initially from a tentative entrance, but credit to Gangestad for a quick recovery. His was an effortless, buoyant bass with colorful tones and lively diction and “Non più andrai” demonstrated Gangestad’s ample dramatic and vocal range.

Brenda Patterson nailed the role of Cherubino: she (playing a “he”) was fresh and believable during the introductory number, "Non so più cosa son,” and Patterson continued to perfectly play a timid, insecure adolescent, complete with affable facial expressions and awkward gestures. As Rosina, Katie Van Kooten was extraordinary. Vocally, she was simply unmatched in this cast, and her Rosina was steady and noble (even in light of a less-than-aristocratic station in this modern adaptation). Van Kooten’s cavatina, “Porgi amor,” was stunning, handled with poise and consummate diction. She seemed surprised by the audience’s boisterous ovation, but indeed Van Kooten deserved that enthusiasm and more.

As the theater’s Executive Director, Troy Cook proved he could handle the revised role. Along with assuredly villainous behavior, Cook allowed glimpses of a more human Almaviva, demonstrating instinctive dramatic capacity. His baritone brought sonorous, intense tones to each ensemble number. Sari Gruber was smartly cast as Susanna, and she capably managed the various situations across which her character must operate. Gruber’s flirtatious duet with Cook, “Crudel, perché finora” (“Cruel girl, why do you make me wait so long”), was a high point as she deftly brushed off the Director’s lecherous advances. Here, both Gruber and Cook exhibited tremendous control.

Korby Myrick was an essential complement to this electric cast and her feisty Marcellina played well opposite Hammon (whose Bartolo was here more savvy lawyer than doctor, and he came complete with a cell phone). Also notable was Heather Phillips as Barbarina; her sweet yet commanding soprano did justice to “L'ho perduta, me meschina” (“I lost it, poor me”).

The ensemble scenes were magical. Mozart’s expertise with orchestral writing informed how he wrote for singers, and the characters’ musical material constantly intersects both contrapuntally and harmonically. For dramatic purposes, though, each individual personality is able to remain in his or her own world of concerns, since independent musical motives develop and diverge in ways that only a true genius of instrumental forms could manage.

In an updated production, compromise is inevitable. This version certainly offers an immediacy of appeal that will work for most if not all, but indeed purists may be offended (or at least frustrated) by certain artistic choices. While all will surely respond positively to the “reveal” of the Lyric’s backstage, reading a supertitle stating that “Figaro emailed a note to Basilio” may not be something everyone can handle. Some may not be ready for Susanna to accompany Cherubino’s song on a portable, roll-up electric keyboard. The car alarm that sounds when Cherubino escapes from the window to the parking lot may insult some sensibilities, and undoubtedly the M.C. Hammer-inspired moves that Patterson incorporates into Cherubino’s “Voi che sapete che cosa è amor” (“You Ladies Who Know What Love Is”) might be beyond some opera-goers. Saturday’s audience, however, responded heartily to all of the above.

As for curtain calls, this production was a fitting send-off. The Lyric Theater’s intimacy and charm have served Kansas City opera-goers well, and affection for the venue obviously motivated many of the artistic and dramatic modifications made. During intermission, though, hundreds of patrons stood outside the theater, lingering on the steps, glancing at the familiar façade. Perhaps they were imagining how different the view will be in October while waiting for the second half of Turandot.

REVIEW:
Lyric Opera of Kansas City
The Marriage of Figaro
Saturday, April 9 at 8 p.m. (reviewed)                                       
Runs April 13, 15 and 17
Lyric Theatre
11^th and Central, Kansas City, MO
For tickets call 816-471-7344 or online at www.kcopera.org

Top photo: Katie Van Kooten and Troy Cook as Countess and Count Almaviva (Photo by Aaron Lindberg)

By Sarah Tyrrell

Opera, Vocal and Classical Contributor

Since 2004, Dr. Sarah Tyrrell has been part of the Musicology faculty at the UMKC Conservatory of Music. In 2003, she completed doctoral work at the University of Kansas and also holds degrees in music history and voice performance from the New England Conservatory of Music and Kansas State University. At UMKC, Sarah teaches undergraduate and graduate classes in music history and world music, as well as graduate seminars on American and Latin American musics. Sarah has presented her research locally and nationally (her research specialty is the art music of Brazil) and actively guest lectures about town on Brazilian popular subjects such as samba and bossa nova. Her articles and reviews have appeared in Musical Quarterly, Latin American Research Review, and Latin American Perspectives.

Sarah is also active in the Kansas City choral music scene: she is the Artistic Director of the Metropolitan Chorale of Kansas City and also sings soprano with the group. This 60-voice ensemble presents four concerts each year and recently completed a performance tour of Brazil.