Opera
Review
The
Marriage of Figaro,
by W A Mozart A crystal chandelier hangs from a corrugated iron roof. By its light, a couple of hundred people, in impeccable evening dress, find their way to their seats: some in the middle of an auditorium whose plaster-board floors are evocative of a building under construction; others in boxes whose plush red velvet curtains scarcely conceal their block-board walls. This is Longborough Opera House, a building which has all the characteristics of an elaborate, eccentric joke. A converted chicken-barn, it has acquired an imposing, terracotta and white Italianate façade, while retaining its functional iron walls and agricultural slatted doors behind. But while the architecture might be tongue-in-cheek, the music certainly is not. Longborough is fast gaining a reputation for innovative, professional opera productions, as the capacity audience present to see Alasdair Middleton's production of Mozart's Marriage of Figaro on Friday night testified. It was an impressive production, both artistically and musically. The modern costumes and set-design were original and carefully worked out, and the characterisation novel and precise. The cast was, for the most part, vocally very strong; Sally June Gain, in particular, gave a powerfully sung, emotional performance as the Countess. Longborough's orchestra pit will only accommodate a small ensemble, but under Jeremy Silver's baton they made up for their small numbers with admirably precise playing. One very refreshing aspect about seeing an opera at Longborough is that on can understand everything that is going on on the stage. The acoustic is, by marvellous good fortune, almost perfect; so with the cast singing in English, one can follow the drama in a way which is normally impossible in a larger building. Of course, impressive though it be, the opera is but one element of an evening at Longborough. Just as important is the interval picnic. And while it is a shame that works have to be slightly cut to accommodate the 80 minute dinner break, it is perhaps the most memorable part of the experience. Not only is it an idyllic (if rather chilly) setting for a picnic, with spectacular views of the Cotswold hills lit by the setting sun; but the array of immaculately prepared, sumptious outdoor banquets set out in the field by the opera house is every bit as wonderful to behold as the opera itself. Audiences numbers at Longborough have been rising impressively since the opera festival began in 1991, and it is not difficult to see why. For while the opera house is rather difficult to get to without a car, it offers those who can make it an evening's entertainment which is musically, sociologically and gastronomically memorable. Matthew Rogers, 7 / 7 / 00 Information about forthcoming productions at Longborough can be found on our theatre listings page, and on Longborough's own website: www.longboroughopera.com |