The Marriage of Figaro

L.A. Opera's "The Marriage of Figaro" brings the company's "Figaro Trilogy" to an explosive close. Bolstered by an impressive international cast and a four-times-the-charm directorial revival, "Marriage of Figaro" doesn't do anything new, and it doesn't have to, because if it's not baroque, don't fix it.

"The Marriage of Figaro" is second chronologically, following the events of "The Barber of Seville," rendering the happily-ever-after ending moot in a way that we always imagined would happen after the credits rolled.

Three years after Count Almaviva romantically whisked Rosina away from the matrimonial intentions of her guardian Doctor Bartolo with the help of handyman Figaro, their marriage has fizzled. Almaviva looks elsewhere for love (and often finds it), Rosina is neglected and sad, and Figaro, now Almaviva's valet, is set to marry fellow servant Susanna, who the Count has his eye on.

Multiple nefarious plots are hatched by all to punish Almaviva, evade his affections, prevent Figaro's marriage and pretty much any combination you can think of, with hilarious results. And unlike "The Barber of Seville," which tried too hard with too many unnecessary and distracting background characters frolicking upstage, "Marriage" hits the comedy nail on the head.

One of the most important aspects in opera for me is the ability of the cast to perform as well as sing, and not only was every song spot-on, every performance was stellar. Roberto Tagliavini lent his impressive bass-baritone voice and comedic timing to the titular role of Figaro in his U.S. and L.A. Opera debut. Incorporating deep, warm vocals with well-executed physical comedy, Tagliavini made one heck of a first impression on the L.A. Opera scene.

South African soprano Pretty Yende provided a hilarious and beautifully sung performance as Susanna, juggling more plots than anyone else in the story. Her voice contained a command unique for a soprano, matched by her strong stage presence.

As for vocal performances, Chinese soprano Guanqun Yu stole the show as the spurned and lonely Countess Rosina Almaviva. Her heartbreaking arias commanded rapt attention as her clear voice soared over the audience.

One of my favorite Mozartean characters is the young playboy Cherubino, and Renee Rapier did justice to the gender-bent and physically-demanding role. Rapier's comedic timing was spot on, as was her believability as the sexy stud.

Count Almaviva was splendidly played by California baritone Ryan McKinny. He managed to be both threatening and a blowhard at the same time.

Finally, the comedic trio of anti-Figaro plotters of Marcellina, a woman bent on marrying Figaro, Doctor Bartolo, a man holding a grudge against Figaro, and Don Basilio, a slimy ne'er do well, was played with hilarity, skill and chemistry by mezzo-soprano Lucy Schaufer, Icelandic basso Kristinn Sigmundsson and tenor Robert Brubaker, respectively. Schaufer killed the comedy aspects, Sigmundsson's epic booming voice impressed as always and Brubaker's character work was spot on.

Director Ian Judge returned to oversee this revival of his staging, now performed a total of four times at the Dorothy Chandler, and for good reason. The staging is simple, classic and hilarious. The singing is allowed to take center stage when necessary, and physical humor is cleverly used.

Tim Goodchild's sets are majestic in their simplicity, with towering walls and doors, and relatively sparse furniture, and Deirdre Clancy's costumes not only fit the early 20th century spin on the production, but were perfect physical representations of the characters.

James Conlon once again proves himself to be an extremely skilled conductor, inspiring incredible performances from his orchestra.

"The Marriage of Figaro" brings a fantastic and (literally) explosive close to L.A. Opera's stunning "Figaro Trilogy." I'm eager to see which series they bring to the stage next.

"The Marriage of Figaro" runs through April 12 at the Dorothy Chandler Pavilion, 135 North Grand Ave. in Los Angeles. For tickets and information, call 213-972-8001 or visit www.laopera.com.