OPERA REVIEW: The Marriage of Figaro, Pacific Road, Birkenhead

Feb 19 2008 by Glyn Mon Hughes, Liverpool Daily Post

IT WAS a courageous step on the part of the Liverpool Mozart Orchestra to stage a full-scale opera.

We’re well used to this ensemble offering up more traditional concerts, so this latest outing was something of a leap into the unknown.

But it proved to be a worthy adventure along what should become a whole new path for the orchestra.

The opening overture, for instance, was full of verve and crackled with enthusiasm for the ensuing long haul. It was as polished a performance as meted out by most professional orchestras.

However, here and there the orchestra seemed to be just a little ragged. The opening to Act Two seemed decidedly shaky and the same was apparent when the peasant chorus arrived in the middle of Act Three.

But these were minor examples, since the ensemble acquitted itself excellently on the whole, proving itself a worthy accompanist.

In addition, it was good to see – and hear – the orchestra in this semi-staged performance rather than have the muffled sound of an ensemble hidden in a pit.

Of the soloists, Thomas Eaglen – singing Count Almaviva – was outstanding: mature, confident and with a rich voice. The same could be said of Emma Morwood, who sang Susanna. She took this demanding role in her stride.

The star of the show had to be Carolina Krogius, singing Cherubino, who made a considerable impact in her performance with Ensemble 10/10 only recently. Her impish charms, considerable acting skills and excellent voice made for a memorable performance.

In some ways Figaro, sung by Philip Smith, as well as Countess Almaviva (Janet Fischer) and Marcellina (Diane Hatfield), suffered from a rather wooden stage presence. Vocally they excelled, but a little more interaction might have made for more credible performances.

Staging an opera at Pacific Road was always going to be a challenge, but it seemed to work excellently.

Director Stefan Janski certainly rose to the challenge and Mark Heron’s conducting skills kept this complex work on the move.

One wonders what’s next on LMO’s operatic bill of fare.