Roxy Assembly
Feb 28 – Mar 4

Here they talk about nothing but Figaro. Nothing is played sung or whistled but Figaro. Certainly a great honour for me Amadeus Mozart



Thomas Henderson

Edinburgh is a talented place indeed, & to see last night a student production brimming with such unobjectionable talent maintains the city’s position as chief eyrie of the arts. Edinburgh Studio Opera has just commenced a five night run of Mozart’s delectably silly ‘The Marriage of Figaro,’ directed by burgeoningly brilliant Thomas Henderson. The guy’s got style, & a sense of history, & by delving deeper into the roots of ‘Figaro’ eked out the improvisational traditions of the Italian commedia dell’arte, full of brash & funloving archetypes, as found in Pierre Baumarchais’ original play. Henderson studied opera in Florence, & like any British artist with their salt has incorporated the commedia elements in his own way; presenting the supporting performers as mime artists with free license to do dress up & pretty much do what they like; telling the Mumble; ‘This is the very essence of the commedia dell’arte: the opportunity to create enough distance from reality through farce & laughter to be able to critique ourselves & the society we live in.’




The one thing they did not do is sing, which is of course left to the professionals, for indeed the singers of ESO’s ‘Marriage of Figaro,’ despite their youth were all sublimely top-notch. Beside them the equally young orchestra  played with perfect fluidity & timing, which is absolutely essential for this chatty wee Opera. Apart from the outstanding overture, Mozart kind of tinkers with embellishments throughout most of the ‘Figaro’, leaving a kind of cinematic accompaniment to the libretto which would have astounded the original audiences. The female’s were especially effervescent, from Jessica Conway’s moodily entrancing Countess, through Sarah Gilford’s Susanna – whose singing was like coming across Princess Serendip singing by  a pool – to Jaimee Marshall’s Cherubino, whose superluscious voice literally warbles on the neck-nerves. Then, in the middle of it all stomping about in dramatic operatic fashion was Timothy Edmundson’s Figaro, who just got better & better as the performance went on, especially when he sang to Cherubino;

Here’s an end to your life as a rover
Here’s an end to the young casanova
It was fun for a while but now its over
We shall soon wipe the smile off your face

This one of the better sections of the libretto produced by Jeremy Sams. The English language & Mozart rarely mix. That was what I discovered as an operatic fledgeling when I saw an English adaption of ‘The Magic Flute’ in Richmond, West London in 1998, & my opinion was not altered last night. Saying that, the ESO have done wonderfully, & Mozart would have been proud, & at only £15 a ticket, they are giving the Edinburgh theater-goer a wonderful opportunity to enjoy the rare & luminous meteor strike that was, & still is, ‘The Marriage of Figaro.’

Reviewer : Damo Beeson Bullen


Reviewer : Damian Beeson Bullen