Get outta here to see 'Figaro:' A non-stop romp

Under the crystal chandeliers at the Paramount Theatre on a recent summer’s night, Mozart’s “The Marriage of Figaro” came to life brilliantly and with fire.

If you know this opera, you will love this production. If you are new to opera, you will love this production.

Mozart’s comic operas have a way of breaking down barriers between opera lovers and the uninitiated.

The show opens with Figaro, the valet, going toe-to-toe with his master, the Count Almaviva, for the affections of the Countess Almaviva’s beautiful chambermaid, Susanna. He sings truth to power:

“If he wants to dance, I’ll play the tune. Should my dear master want some diversion, I’ll lead the band.”

Andrew Wilkowske plays Figaro with robust forthright sincerity, clarity and infinite charm. His baritone voice is strong and flexible, and the energy he projects is delightful.

Figaro is known for his resourcefulness; in Beaumarchais’ previous play, “The Barber of Seville,” he helps Rosina get her man (the Count). But now that she is “happily married,” her husband is proving to have a roving eye. So in “The Marriage of Figaro” she again enlists Figaro’s help, this time to teach her husband a lesson.

In the end, though, it is the women who save the day. Being but a man himself, Figaro, like the Count, gets caught up in jealousy and suspicion. It is the women who dream up the idea of disguising themselves for trysts in the garden at night — trysts through which wrongs ultimately get righted.

Despite serious themes, “Figaro” is a non-stop romp. Mozart has a way of combining total craziness with sublime music and depth of character. “Figaro” is simply Mozart at his most delightful, playful best.

Part of the craziness contingency is Basilio, the music master, played so delightfully by Jonathan Smucker. (He will remind you of “Are You Being Served?”) His pink tights, curly powdered wig (shaped like Mickey Mouse ears), his clunky, funky high heels, and the pink scarves that he carries in one hand to flounce about with, are a hoot.

Figaro and Susanna, played by Ashley Logan, are a great romantic couple, whose intimacy and playfulness convincingly communicate the fire between them.

Here, the soprano voice of Susanna dazzled and entranced us with its down-to-earth sweetness and equanimity.

The Count, the villain, if such there be, played by Gregory Gerbrandt, proves he is no one to be trifled with, even though in one of his arias he says, “What has human weakness done to my honor?”

The Countess, played by Elizabeth Caballero, is the very heart around which the spirit of this opera revolves. No victim here. Resourceful, and giving as good as she gets in her arguments with her philandering husband. She allows herself an exquisite aria of self-pity and then on to reconciliation and forgiveness, sung in a beautiful soprano voice with power and poignancy enough to break your heart.

We’ve got professionals here to die for, under the direction of James Lowe. Ash Lawn Opera continues to offer us the very best.

If you’re going
WHAT: ‘The Marriage of Figaro’
WHEN: 8 p.m. Aug. 1 and 7
WHERE: The Paramount Theatre, Downtown Mall, Charlottesville
TICKETS: $30 to $35 for adults; $15 for children and students; plus service charges for telephone and online purchases. Groups of 15 or more save $7 per ticket.
INFO: A special kid-friendly version will be performed at 11 a.m. Aug. 1 at Ash Lawn-Highland; $5. For all Ash Lawn shows, visit www.ashlawnopera.org or call (434) 293-4500.

Tudor is a correspondent for the Daily Progress in Charlottesville.