Conducted by Matteo Dal Maso. Directed by David McVicar. Revival Direction by Andy Morton. Presented by Opera Australia
A visual and musical feast. Mozart’s The Marriage of Figaro delivers opulence, wit, and surprising tenderness.
Reviewed by Chanele Mao
Joan Sutherland Theatre, Sydney Opera House
Season: Until 27 August 2025
The show is approximately 3 hours with a 30 minute interval.
Tickets: https://opera.org.au/productions/the-marriage-of-figaro-sydney
Type: Comedy, Opera, Historical
If you liked: La Boheme, La Traviata, Carmen
A three-hour opera on a Thursday night, in the middle of winter, with rain pouring down? It might not sound like the most obvious midweek plan. But step inside the warm, golden interiors of the Sydney Opera House, and you’re met with a different kind of energy: the buzz of opening night, a house full of anticipation. Mozart’s The Marriage of Figaro has returned to the Sydney Opera House in a lavish, intelligent production that proves some classics never fade.
From the moment the overture begins – sprightly, elegant, unmistakably Mozart – you know you’re in capable hands. The story begins on the wedding day of Figaro and Susanna, the valet and maid to the charmingly unfaithful Count Almaviva and his Countess. But all is not well in this gilded palace: the Count has designs on Susanna, and the young couple must outwit him through a deliciously tangled web of disguises, secrets, and reversals.
The Count (played by Gordon Bintner) looks every inch the aristocrat – tall, upright, and impeccably put together, but beneath the polish is a man who believes the world revolves around him. Regal in appearance, yes, but morally hollow. In contrast, Susanna (played by Siobhan Stagg), while sweet and sympathetic, is almost naive in her disbelief that the Count could have any interest in her – a likeable, if at times forgettable, presence in the palace drama.
Visually, this production is a feast. Jenny Tiramani’s set and costume design evokes regal splendour and fine historical detail – nobles wrapped in silk and lace, while servants wear crisp cotton blues and whites. The opera unfolds over four acts, each telling its own chapter. The standout is Act II, set in the Countess’s bedroom: blush-pink curtains sweep down from soaring ceilings, and the room opens like a Rococo painting brought to life. David Finn’s lighting is equally evocative, gently shifting with the passing hours – a soft, golden haze filtering through tall windows, adding a magical touch.
…a cultural night out that’s sumptuous, sharp, and satisfyingly mischievous
The production isn’t without its flaws. Act I takes its time to find momentum, and the orchestra’s sound felt slightly subdued on opening night. But these were minor quibbles in an otherwise spirited and beautifully realised performance. As the story builds, so does the energy on stage and the audience’s engagement. There are plenty of laughs and moments of real hilarity throughout this opera. Despite the sung Italian, although helped by English surtitles, the characters’ physical comedy, exaggerated movements, and perfectly timed mishaps keep the humour entirely accessible. It’s opera at its most playful.
And yes – Figaro is long. But it’s also rich, layered, and wildly entertaining. It’s a journey through love, class, vanity, forgiveness, and rebellion, all wrapped in Mozart’s radiant score. If you’re after a cultural night out that’s sumptuous, sharp, and satisfyingly mischievous, The Marriage of Figaro is well worth the ticket and the time.
Come for the Mozart. Stay for the palace intrigue, the grand gowns, and the joyful chaos of a truly timeless comedy of errors.
Cast & Creatives
Conductor: Matteo Dal Maso
Director: David McVicar
Set & Costume Designer: Jenny Tiramani
Lighting Designer: David Finn
Revival Director: Andy Morton
Count: Gordon Bintner
Countess: Kiandra Howarth (31 Jul–8 Aug)
Jane Ede (13–27 Aug)
Figaro: Michael Sumuel
Susann: Siobhan Stagg
Cherubino: Emily Edmonds
Dr Bartolo: Richard Anderson
Marcellina: Dominica Matthews
Don Basilio: Virgilio Marino
Don Curzio: Kanen Breen
Barbarina: Celeste Lazarenko
Antonio: Clifford Plumpton
First Bridesmaid: Annabelle Chaffey
Second Bridesmaid: Keara Donohoe
Opera Australia Orchestra
Opera Australia Chorus
