Mozart’s rambunctious operatic romp The Marriage of Figaro is bought to life by The Welsh National Opera. A subversive riot of music and mischief, servants make fools of masters and wives get revenge on scheming husbands in this classic of the opera genre. Virtuoso performances, incredible music and opulent costumes combine to create a frantic, funny and touching love story.

The story unfolds over the course of a single day, the wedding of Figaro (Michael Mofidian) and Susanna (Christina Gansch). We meet the happy couple as they measure furniture for their new home when a series of farcical disasters throws them – and their wedding plans – into chaos. Legal obligations, archaic feudal etiquette, a lecherous duke, conniving servants and jealous lovers all conspire to jeopardise the nuptials. The genius of the WNO’s adaptation, and direction of Tobias Richter and Max Hoehn, is the focus on the human relationships in the story – the utter relatability of the characters on stage defies time, language and culture. It is compelling, relatable and hilarious to watch, despite being nearly 250 years old.

From the off, the iconic overture foreshadows the fun that is to come, with conductor Karem Hasan leading the orchestra through the thrillingly frantic tempo increases and dramatic crescendos with infectious enthusiasm. The music is consistently fantastic, with Mozart's motifs perfectly illustrating the action. Character’s individual musical themes render the dynamics crystal clear, so we are never confused as to who is talking or what their feelings are, even when act 2 reaches its dazzling climax with eight separate voices singing simultaneously.

It becomes apparent that the tyrannical Count d’Almaviva (Giorgio Caoduro) seeks to claim Susanna for his own, while the Count’s long suffering wife (Erika Grimaldi) comes to terms with the fact that her husband desires another. The count hatches plans to foil the marriage between Figaro and Susanna, introducing us to a complex web of supporting characters.

The performances are universally fantastic. Micheal Mofidian’s Figaro is a bumbling hero, likeable and flawed. Giorgio Caoduro delivers a dastardly villain with aplomb. Meanwhile Christina Gansch portrays the quick-witted, mischievous and very capable Susanna. Erika Grimaldi’s Countess is a beautiful foil to the side-splitting slapstick; she is serene, wise and grief-stricken – a grounding force amidst the gleeful pandemonium of the plot. The supporting characters in the story are equally compelling and memorable. Harriet Eyley is brilliant as Cherubino, the lustful page, her acting matching her technical singing prowess to make for an enthralling performance.

The opera runs at 3 and half hours (including a 30 minute interval) but the plot bounces along so joyfully and energetically that the time flies. Speakers of Italian may notice abridgements in the English surtitles, which means some of the detail and nuance of the original Libretto is lost, but not enough to detract from the overall experience.

Seasoned opera veterans and newcomers alike will be rapt throughout, moved to laughter and tears by this well-loved story that doesn’t show any signs of going out of style.

Five stars

WNO - The Marriage of Figaro was reviewed by Todd Jennings on Thursday 8 May at Birmingham Hippodrome.