(Credit: Cory Weaver / San Francisco Opera)

San Francisco War Memorial Opera House on Halloween night was delight amplified a thousandfold. Not only were many audience members bedecked in colorful costumes and masks, in true San Francisco style, but “Le Nozze di Figaro,” from downbeat to finale, shone as a true Fall Festival. In Michael Cavanagh’s 2019 production, here directed by San Jose Opera’s musical director, Shawna Lucey, and conducted by Sebastian Weigle, the production proudly showed off Mozart and Da Ponte’s musical gem, the familiar sound and story feeling as freshly minted as ever. Costumes were designed by Constance Hoffman, lighting by Jane Cox and Justin A. Partier, set design and projections were created and executed by Erhard Rom, choreography by Colm Seery, and the chorus were directed by San Francisco’s John Keene.

“Le Nozze di Figaro” is based on the well-known 18^th century play by Pierre Beaumarchais. Since its premier on May 1, 1786, it has been included in the repertoires of major opera companies around the world. San Francisco Opera’s first production, in 1936, was a noble addition to the canon, starring Ezio Pinza as Figaro and Elisabeth Rethberg as the Countess.

In this 2026 production, the shimmering building plans of a late 18^th-century American manor house, projected on movable boards, invited us into an atmosphere full of possibility. While the production is not a historical account,  the flavor of the period drove the story’s momentum, including set design and costumes. The appearance of an American flag in Act 1 accented this. As the libretto includes the revision of feudal laws concerning marriage customs and social behaviors, the opera suggests a more progressive direction in which society can head. The aristocrat was not going to get his way and bed the bride after all!

The opera’s three main couples allow us to explore these societal changes in depth. The primary relationship is, of course, that of Figaro and Susanna. This duo was performed by the husband-wife team of bass Peter Kellner, in his San Francisco Opera debut, and soprano Slávka Zámečníková. Kellner gave us a skillful Figaro. His voice was sonorous and robust. He moved with great agility, even somersaulting on several occasions! Though quick in his mannerisms and clever in his repartee, Kellner’s Figaro has not yet reached the fully-seasoned roguish fellow he may become. Still, his patter remained excellent – as was Susanna’s, Marcellina’s, and Bartolo’s, even if it was not understandable except in summary. Figaro has much to do onstage – nearly four hours of performing – and Kellner rose to the demands of the role marvellously. His merry and engaging persona kept us delighted and we were happy for him when he received his bride at the end, after all the antics.

Susanna was sung by Slávka Zámečníková in an excellent interpretation. It was replete with detail, from facial expression and physical gesture to vocal articulation and lyrical grace. She was quick and slick in shifting emotions with a lustrous voice. Her solo in Act 4 was very pretty. Maybe it was not soul-stirring, but that is not Susanna’s character. The richness of Zámečníková’s performance came from her gifts for physical interaction and a voice that was richly colorful, able to shift moods and direction by the minute. It gave continuous joy.

The second couple were Count Almaviva and Countess Rosina Almaviva, performed by baritone Thomas Mole and soprano Olivia Smith respectively. With an appropriately commanding presence and a rich and well-projected voice, Mole showed considerable acting skill. He was convincing in the role throughout, remaining active, decisive, and assertive. His round and full voice did appear to falter a bit from fatigue in final third, but he rebounded with gusto for the finale. His use of a cape was effective and his physical presence, alongside his vocal range, showed his skill and promise. He conveyed strong determination in both lustful advances and compassionate forgiveness.

Olivia Smith as Countess Rosina Almaviva gave a thoughtful performance with a character defined by variety and development. Her two major arias, “Porgi Amor” and “Dove Sono,” seemed to be over before they had properly begun, yet each was articulated with a good range and distinct vocal palette. Perhaps it could have been more impactful if the Countess had not moved so much in each aria and had instead showcased her more introspective side. Despite this staging choice, where the character seemed content to just irritably complain rather than look within and share the richer character reflections that composer and librettist had poured into her, Smith gave each aria plentiful volume and variation.

The third couple were Bartolo and Marcellina, performed by bass Maurizio Muraro and mezzo-soprano Catherine Cook respectively. Cook’s Marcellina did a wonderful switch from demanding woman to devoted mother, maintaining her comic stance all the way. Muraro sang as a good companion to Marcellina: adept, funny, energetic, and lively.

Cherubino, performed by mezzo-soprano Simone McIntosh, was a fine, fluent singer and actor. She showed herself in very strong voice, charming the audience with vocal richness and fluid acting. McIntosh maintained a very good hold on the switches from girl to boy to girl, which are always a challenge, as well as dazzling us all with her full and resonant sound.

Antonio, performed by bass-baritone Philip Skinner, Curzio, by tenor Chance Jonas O’Toole, and Barbarina, by Sofia Gotch, remained integral to the story, keeping things thoroughly entertaining and jaunty. Basilio, performed by tenor Alek Shrader in a red wig and pink ballet shoes with a mincing walk, played the effete music teacher well, his voice adding layers of charm without cliché.

Weigle’s music kept the production dynamic and upbeat. The Overture seemed to start at a gallop, but once the characters started to cavort onstage things felt less frantic. Weigle “kept it Mozart” all the way through: lots of notes, lots of melody, lots of energy, lots of contrast. The multiple ensembles – duets, trios, quartets, and more – remained perfection. The treasures of the score shone like arrayed jewels – from the “Non piu andrai” of Figaro to Cherubino’s “Voi chi sapete.” The final septet at the end of Act 2 was a highlight extraordinaire.

What was most striking was the musical coordination – from the converging storylines and the harmony of voices to the interplay of comic and poignant and assertive sound and action. It felt exactly like what Mozart could have wished for. These are the elements that made his art so immortal and satisfying. Nothing in this production distracted from that unifying experience. It was an exposure to genuine artistry and mastery of music, wit, and down-to-earth humanity. Every character had a story to tell and each told it. Every character’s story interacted with everyone else’s. We never paused to wonder why or wherefore, we just went where we were sent. Where that was turned out to be somewhere down-to-earth and implicitly accessible. As we watched these very human lovers irrationally quarrel, Puck’s immortal words from “A Midsummer Night’s Dream” came to mind – “Lord, what fools these mortals be.” How enchanting, how adorable, how foolish – such is life! The central success of the production were the well-oiled ensemble performances. Each character played their part with skill and sensitivity.

While one could wish that the production had explored more the deeper themes of Mozart’s storybook tale, it is a certainty that San Francisco’s production kept to Mozart’s prerogative. We were given a modern take on an 18^th-century gem that will last as long as opera does, and for that we are grateful. Maybe one day opera will become a relic, but for today we can relish in the genius of the composers and librettists who put intimately human stories upon the stage so that we could, for a moment, escape our lives, enjoy our days, and learn our lessons.