Beautifully well-matched casting & superb singing brings alive the latest revival of David McVicar's production of Mozart's Le nozze di Figaro at Covent Garden

Mozart: Le nozze di Figaro - Andrey Zhilikhovsky, Masabane Cecilia Rangwanasha, Louise Alder, Alex Esposito - Royal Opera House (Photo: Mihaela Bodlovic)

Mozart: Le nozze di Figaro; Alex Esposito, Louise Alder, Andrey Zilikhovsky, Masabane Cecilia Rangwanasha, Svetlina Stoyanova, director: David McVicar/Lea Hausman, conductor: Bertrand de Billy; Royal Opera House
Reviewed 4 June 2026

Still in robust health, David McVicar's classic production benefits here from a fine quality cast, all beautifully well-matched, so we were enthralled dramatically and musically

David McVicar's production of Mozart's Le nozze di Figaro, which is rapidly acquiring classic status, has returned to Covent Garden with a lively new cast. Revived by Leah Hausman (the original movement director), we caught the performance on 4 June 2026 conducted by Bertrand de Billy. Louise Alder was Susanna [last seen as the Countess at Glyndebourne last year, see my review] and Alex Esposito was Figaro with Andrey Zilikhovsky and Masabane Cecilia Rangwanasha as Count and Countess Almaviva, and Svetlina Stoyanova as Cherubino [last seen as Sesto in Handel's Giulio Cesare at Glyndebourne, see my review]

This was the third or fourth time I have seen the production, and it remains as engaging as ever. McVicar's fondness for placing the action in the context of a busy household with actors as the household staff providing a lot of incidental comedy that manages to never quite pull focus. That said, I did wonder whether things had become a little broader or perhaps this was just familiarity. With any performance of this production, there is the risk that the sets or the antics of the household will take precedence in the memory over the performances. There is little chance for intimacy here.

Mozart: Le nozze di Figaro - Svetlina Stoyanova - Royal Opera House (Photo: Mihaela Bodlovic)

From the beginning, Bertrand de Billy took a practiced view of the speeds, keeping things flowing but never allowing the music to feel too rushed. Nor did he luxuriate even though he had the wherewithal to do so in both terms of the voices and the orchestra. Recitative-wise, I always enjoy this opera on a smaller scale so that the cast can really move the dialogue along but the Royal Opera House is hardly the space for that.

The principals were all beautifully well-matched. Alex Esposito's Figaro always seemed on the edge of anger, but the strength in his voice could also easily give way to buffoonery, and in the opening scenes he established this Figaro as a man delightfully in love. He constantly moved between moods, jealousy and engagement never far away. Yet he and Louise Alder made Figaro and Susanna's relationship seem complete and balanced, teasing alternating with edgier moments. Somewhat maturer having moved to the Countess last year, Alder made a Susanna of remarkable depth. Yes, she was fun, teasing and coquettish, but there was something else too.

Andrey Zilikhovsky's Count clearly had a rod of steel up his back and could turn fearsome. Yet Zilikhovsky did not lose sight of the fact that the man is also a charmer with great sexual magnetism. The Count's egotism really came across in the Act Three solo, and whilst the others did run rings around him, you felt this was more thanks to his self-absorption than buffoonery. For once, the Count's capitulation to the Countess at the end was completely believable. In part his was because Masabane Cecilia Rangwanasha's Countess was such a wonderfully complete portrayal. Rangwanasha has a wonderfully luxurious voice and in her Act Three solo scene, Rangwanasha made it clear quite how strong she could make the character. Yet she imbued the Countess with great fragility too. Her opening scene was finely done as we saw the public and private character. Also, Rangwanasha brought out the Countess's dependence on Alder's Susanna and in the long Act Two finale, it was only when acting in concert with Susanna that the Countess seemed stand up for herself.

Svetlina Stoyanova's wonderfully sung Cherubino matched her lithe, athletic sound with a similar physicality. As a youth she was believable, but this was allied to a fine feel for Mozart's music. She was one of the few soloists to include much ornamentation, too. Yet, for all the musical sophistication this Cherubino was still an annoying little shit.

The smaller roles were well taken. Rosie Aldridge made a lively and surprisingly youthful Marcellina, and one who could pack quite a punch dramatically and musically. She did not get her aria, which works in such a long piece but was still a shame. Carlo Lepore made quite a virile, yet still older Bartolo. One who was less idiotic buffoon than usual. Gregory Bonfatti was the usual camp and oily Basilio, with Colin Judson as Don Curzio. Mark Saberton's Antonio seemed to be slightly more functional and less drunken than usual, thank goodness with a lovely turn from Marianna Hovanisyan as his daughter Barbarina.

Mozart: Le nozze di Figaro - Louise Alder - Royal Opera House (Photo: Mihaela Bodlovic)

Le nozze di Figaro remains a long evening in the theatre, but conductor and cast ensured that the magic held. We were enthralled dramatically and musically. Many of the performances in the run are sold out, quite rightly given the sheer quality of this casting. 

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