The Opera Virgin attends ‘The Marriage of Figaro’: Opening one’s mind to new artistic disciplines could provide enlightenment to glorious new pursuits.
Picture this: it’s a cold winter’s evening in Joburg, I’ve just navigated dark, load-shed streets along the hilly slopes of the West Rand and I find myself, suitably attired, standing in a queue at the Roodepoort Theatre, about to attend the opening night ofIt had never crossed my mind to undertake an operatic exploit but the confluence of an ever-increasing appreciation for the arts, augmented by the effects of the Covid-19 lockdowns, and there I stood on a Wednesday evening, ticket in hand.
Frustrated Cherubino expounds upon his desire for the Countess, and in the process complicates matters for Figaro and Susanna .I knew I wanted more of this. That sense of occasion and good old pomp and ceremony. For a moment, I indulged in fanciful thoughts of the Vienna Opera House, possibly a future attendance at the Royal Opera in London or taking my seat at the Bolshoi Theatre in Moscow, if they would just stop fighting.
As the curtain rises we are introduced to Figaro and his fiancé Susanna on their wedding day. The count has graciously given the happy couple a room but Susanna laments that it is dangerously close to the count, who has less than noble intentions towards her. The count plans to reinstate the feudal right which greenlighted a lord to have his way with a servant girl on her wedding night. Bad news for Susanna in 1786, hectic stuff in 2022.
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