In shifting Mozart’s masterpiece The Marriage of Figaro from 18^th century Spain to a vaguely 1980s Spanish fashion house, director Colin McColl has delivered a believably taut and coherent vision.

The autocratic head of a top fashion house probably behaves much like an aristocratic count of 1780 and the parallels ring true.

McColl’s acute dramatic sense and understanding is evident in every aspect of the production from principals to chorus.

John Parker’s versatile sets of tall metal – both mirrored and transparent – were stylish and elegant and their design was complimented superbly by Tony Rabbit’s atmospheric lighting.

As befitting an haute couture house, Elizabeth Whiting’s costumes were simply stunning and imaginative. Glamorous and seductive for the women (culminating in Susanna’s wedding dress, which is to die for), and silky, shimmering elegant coats and suits for the men. Funky touches delineate the characters.

The wit of Da Ponte’s libretto and Mozart’s style are wonderfully delivered, allowing humour to shine.

From the overture, director Martin Andre’s direction was lively and stylish, with ideal balances, attention to detail and the singer’s needs.

The NZSO was beautifully attuned to every nuance, with vital polished strings, and lovely wind and horns; Donald Nicholson’s forte-piano continuo was superb.

The chorus had little to do but its moments were telling, with vibrant singing and delicious characterisations.

The success of this performance hinges on the strength of Susanna, who is involved in nearly every aspect of the opera. Andrea Creighton was perfectly cast – an ideal Susanna, vocally brilliant and secure.

Mark Stone as Figaro, was appropriately handsome and in fine voice, a fine foil for the count.

As the scheming woman-chasing Count Almaviva, Roderick Earle was commandingly powerful and sufficiently different in timbre to Figaro.

Patricia Wright’s regal Countess Saddenid was visually correct, but despite her beautiful voice, did not fit Mozart’s style and slowed the arias.

This was a dazzling entertaining performance that fizzed with wit and energy.

The final, upbeat, pounding catwalk fashion parade curtain call charmed and delighted the capacity audience – just like the real thing. This is one of the best Mozart operas I’ve ever seen.

WHERE: The NBR New Zealand Opera Mark Stone, Andrea Creighton, Barry Mora, Zan McKendree-Wright, Sarah Castle, Roderick Earle, Richard Greagor,

WHEN: Westpac Trust St James Theatre 6 July

REVIEWED BY: Allan McFarlane

Any production of The Marriage of Figaro requires first and foremost singers who can act. Secondly, it requires a production that finds the humour, which is often lost on English speaking audiences because of the Italian recitatives. Thirdly, the production must show an acute awareness of the almost revolutionary intrigues encapsulated in the original play. How, then, did this "modern" production set in a contemporary Italian fashion house fare?

To put it simply, if you make it to only one Mozart opera in your life, then make it this one. With the better-than-fine soloists, the sublime NZSO in the pit and the astonishingly successful production, this night of musical theatre is an unprecedented success, much of which must be due to the vision of director Colin McColl and the consummate leadership of the conductor, Martin Andre, who managed to focus the drama, point the wit and maintain an impeccable precision from the NZSO with apparent ease.

This Marriage of Figaro is funny, often hilarious - not only the at-times ludicrous plot that doesn’t stand too close a scrutiny but the points Mozart underlines throughout with a musical punctuation that is absent from some performances, but not this one.

Of the soloists, Andrea Creighton (Suzzana) received the warmest applause of the night, and rightly so. Her acting was as convincing as her voice was a wonder. Sarah Castle (Cherubino) acted the cameo role with a natural and relaxed stage presence that demonstrated a strong characterisation. Her voice has developed into a flexible instrument that projects well in the capacity-filled St James. Patricia Wright (Countess Almaviva) warmed into the role as the night progressed portraying with expertise the myriad of emotions the role demands.

Mark Stone (Figaro) displayed a wonderfully rich voice throughout his range though at times he suffered in matters of balance with the orchestra.

Roderick Earle (Count Almaviva) sang and acted his complex role with total reassurance. The other soloists showed great enjoyment in their respective roles with Richard Greager’s appearance being one of the production’s highlights. All soloists performed the work’s legendary ensembles with the evidence of a thorough preparation that, along with Martin Andre’s careful direction made the most of those glorious moments.

The costuming was breathtakingly dramatic adding to the overall success of this production, as did the lighting. Has anyone ever seen so many footlights? The set designs (John Parker) are more than brilliant; they show a remarkable empathy with this new setting of Mozart’s masterpiece that the composer would have been in awe of.

The direction of Colin McColl added greatly to the night’s sense of theatre. No stylised or stuffy scenes at all, with many humorous touches of 21^st century gadgetry added without distracting from the overall concept of the original opera. His use of the well prepared, though light, chorus as "extras" added greatly to the unfolding drama. All in all, a splendid night that received the lengthy applause it was due.