My wife and I attended the Jacobs School of Music production of Mozart’s famous opera, “The Marriage of Figaro,” last Sunday at 3 pm. Figaro is justifiably one of the best-known operas of all time, known mostly for its lovely melodies and comedic aspects, but there is more to the opera than that. This was a wonderful offering of that opera. If you have not seen it, please consider attending one of the last two performances at the Musical Arts Center on Friday, October 3, at 7:30 pm or Saturday, October 4, at 5 pm. If you have ever thought about experiencing an opera performance and have not yet, or if you have ever enjoyed an opera performance, or if you attended an opera in the past and did not like it, give this Jacobs School offering a shot.
An important note to those new to the opera or new to the MAC: there are projected over the stage short summaries of what is being sung or said at any given time, so while the opera is sung in its original lovely Italian, you can easily understand the action thanks to the English supertitles. It’s probably not the best starting place for kids under 13 or so (that will be the next opera at Jacobs). Otherwise, this opera is a great entry point to opera (and a good place for another try if you think you don’t like opera).
Last Sunday’s performance began with the usual cheery and wonderful greeting from Jacobs School Dean Abra Bush, who on this occasion noted that Sunday marked the Jacob School’s 500th opera performance – quite the track record. Dean Bush’s presence at the start of opera performances is always a nice touch. She loves the MAC audience and we love her.
The musical performance was simply wonderful. I had not previously heard Maestro Kevin Murphy conduct. His interpretation of a very well-known opera was pleasant, at times subtle. The overture started with a very peppy tempo. In contrast, the tempo was a bit slower than I think typical for the early stretches of the second act. Both were interesting variations from what I had expected. It took just a couple of minutes for the orchestra to settle in, but after that the conducting and playing were both precise and sensitive. I was not watching carefully, but I believe that Maestro Murphy put his score on his podium as he arrived at the beginning of the performance but did not open it till the beginning of the third act.
Figaro is a drama with strong comic elements. For those who don’t know the plot, here is the shortest of summaries: Figaro wishes to marry Susanna. Both are servants of Count Almaviva, the lord of the estate, who wishes to bed Susanna (among others). A young man in the household, Cherubino, wishes to bed most anyone but most especially the Countess Almaviva, who knows of her husband’s unfaithful ways. In the end, Figaro and Susanna marry, as do the couple who turn out to be Figaro’s parents. The Count, chastened, is taken back by the Countess. Much wonderful music carries this opera along for about 3 hours and 20 minutes, with one intermission between acts 2 and 3.
As is typical, the opera has two casts of singers in named roles. In the title role of Figaro the two singers are Sam Witmer and Robert Wente. They provide two alternatives to hear this role that are like a coin toss where “tails you win, heads you also win.” I have heard both singers before and they sing beautifully and act with grace and ease. Once upon a time, decades ago, there was a discernible difference between the “first cast” and the “second cast.” That ended some good time ago. Today there is generally at most a hairsbreadth difference in the artistry of the two casts.
Artists that really stood out for me among the men were Sam Witmer as Figaro, Samuel A. Friedman as Bartolo, and Samuel Wetzel as Count Almaviva. The voices and acting of the three were well balanced, which matters a great deal. Never Sunday afternoon did I think about the fact that these are, after all, students on stage at the MAC.
Among the women one has to call out Virginia Sims as Susanna for her versatility, quality of voice, and lyricism of performance. Susanna is on stage more than any other woman. She is central to the comedy and the plot development.
In terms of the dramatic elements of the plot, the performer who sings the role of the Countess is the person who keeps this opera a drama – otherwise it would just be a farce. She reminds us that it’s not all fun and games. This grand lady is being treated with great cruelty which is not deserved. As the Countess, Lillie Judge held the audience of the MAC spellbound every time she opened her mouth to sing an aria or duet – most particularly so as the second act opened. It is at this point that the audience first feels deeply the heartbreak of the Countess. Ms. Judge’s voice has a complexity and depth that suits this role and added a critical dimension to this wonderful performance.
The role of the hormone-laden young man Cherubino is a “pants role” – a male character yet sung by a woman. Miranda Milan was wonderful in this role in all aspects – singing, acting, and wonderful moments of physical comedy.
The other young lady who really stood out in my mind was Talinaiya Bao as Barbarina. She has a lovely voice and great versatility in skills and roles. Her versatility was shown by this role and the lead role she performed recently at IU in the modern opera “An American Dream.”
Throughout the performance singers were on pitch, projected well, and the Italian diction seemed excellent to my ear. I have not mentioned all the singers in named roles, but all performed admirably and deserve praise. The chorus, under the leadership of Walter Huff, was excellent as usual. This production has been used at least once before at the MAC, perhaps more than that. The set fits the opera without taking attention away from the music and acting. Stage direction by Crystal Manich was effective and, at times, subtle. One example is the way Susanna used chairs to separate herself from the Count when she was caught alone with him in a banquet room.
One small note: many classic operas do not give women the agency and credit they are due. This opera may do so, or at least come close. The Count and Countess reconcile at the end. This is not because everything is once again somehow all right. It is, as the Countess sings and the supertitles remind us, because she is kinder than he.
The audience Sunday afternoon was enthusiastic and probably as good as one could hope for, given that this was – I believe – the first time ever that IU has put on an opera on a Sunday afternoon. Congratulations to the leadership for their willingness to experiment. I hope that Sunday afternoon performances become a staple. Such performances should be an obvious way to build up interest among younger people. We older folk get to go home and have a nice dinner after the opera and can still then tuck ourselves into bed at our usual bedtimes.
And thanks to the Jacobs School! Good concessions are back! You now have a choice of local craft beer, mixed drinks, soft drinks, coffee, and water during the intermission. (Along with cookies that are well worth the probably 8,000 calories that each contains….). The number of concession stands has been increased. I was the designated driver this round, but I expect to pass that responsibility off to someone else at some point in the future and enjoy a drink during intermission.
The performance Sunday afternoon ended with the audience enthusiastically on its feet for a standing ovation. Such was deserved by the performers, everyone involved in any way in making this performance happen, and the leadership of the Jacobs School of Music. It was an auspicious start to this opera season!
-Craig Stewart, 1 October 2025