Opera Through the Years:
The Marriage of Figaro

Mozart's comedy was the first opera we ever performed, and has been on our stages ever since.

A man and two women sit on stage wearing blue 17th century costumes in a performance of The Marriage of Figaro at the Sydney Opera House.

Paolo Bordogna as Figaro, Anna Dowlsey as Cherubino, and Stacey Alleaume as Susanna in our 2019 season of The Marriage of Figaro at the Sydney Opera House. Photo: Prudence Upton.

Paolo Bordogna as Figaro, Anna Dowlsey as Cherubino, and Stacey Alleaume as Susanna in our 2019 season of The Marriage of Figaro at the Sydney Opera House. Photo: Prudence Upton.

Our connection with Mozart reaches back a long way — right back to our company's birth. But what is it that's so enduring about his work and, in particular, The Marriage of Figaro?

We've gone digging through the Opera Australia archives to uncover photos and stories of our many productions of opera's original upstairs, downstairs comedy.

1956

The attention of the world was on Australia in 1956, as the Melbourne Olympics brought in athletes and visitors from all corners of the globe. But at the same time, another significant cultural event was happening: the company now known as Opera Australia was born.

The Australian Elizabethan Trust gathered a company of opera singers to celebrate the bicentenary of Mozart’s birth, touring four of his operas to Sydney, Melbourne, Adelaide, Brisbane and Perth. Among those operas was The Marriage of Figaro, directed by British opera wiz Dennis Arundell and designed by Australian painter Kenneth Rowell. The Australian Elizabethan Theatre Trust’s musical director Joseph Post conducted an Australian cast on the tour, including John Cameron, Valda Bagnall, Betty Benfield, John Shaw, Neil Warren-Smith, Wilma Whitney, Nita Maugham, Raymond McDonald, Keith Neilson, Ereach Riley and Janne Ross.

The Marriage of Figaro was the first opera our company ever performed, with a gala opening performance at the Theatre Royal, Adelaide on 21 July 1956.

A man and a woman stand holding each other in 17th century costumes in a performance of The Marriage of Figaro.

Valda Bagnall as Susanna and John Cameron as Figaro in our 1956 production of The Marriage of Figaro. Photo: Opera Australia Archives.

Valda Bagnall as Susanna and John Cameron as Figaro in our 1956 production of The Marriage of Figaro. Photo: Opera Australia Archives.

A man in a black tuxedo takes a bow on stage in front of a chorus of costumed opera singers.

The curtain call at the opening night of The Marriage of Figaro at the Theatre Royal, Adelaide on July 21, 1956. Photo: Opera Australia Archives.

A man and two women sit around a chair in period costume, in character for a performance of The Marriage of Figaro.

John Shaw as Count Almaviva, Valda Bagnall as Susanna and Betty Benfield as Cherubino in our 1956 production of The Marriage of Figaro. Photo: Opera Australia Archives.

A man in a black tuxedo takes a bow on stage in front of a chorus of costumed opera singers.

The curtain call at the opening night of The Marriage of Figaro at the Theatre Royal, Adelaide on July 21, 1956. Photo: Opera Australia Archives.

A man and two women sit around a chair in period costume, in character for a performance of The Marriage of Figaro.

John Shaw as Count Almaviva, Valda Bagnall as Susanna and Betty Benfield as Cherubino in our 1956 production of The Marriage of Figaro. Photo: Opera Australia Archives.

1963

In 1963, we performed a new production of The Marriage of Figaro by Viennese director Stephan Beinl, who had a long association with the company, up until his death in 1970. The production was designed by Kenneth Rowell, who was behind our 1956 production.

Viennese conductor Wilhelm Loibner was the season’s musical director, with Ronald Maconaghie in the title role and Cynthia Johnston as Susanna. Both singers had long careers, and performed with us through the 1960s, ‘70s and ‘80s.

A man holds a woman in period costume in a performance of The Marriage of Figaro.

Peter Baillie as Don Basilio and Cynthia Johnston as Susanna in our 1963 production of The Marriage of Figaro. Photo: Opera Australia Archives.

Peter Baillie as Don Basilio and Cynthia Johnston as Susanna in our 1963 production of The Marriage of Figaro. Photo: Opera Australia Archives.

A group of people in period costume appear on stage in a performance of The Marriage of Figaro. Sheer fabric is draped above the stage.

A 1964 performance of our production of The Marriage of Figaro. Photo: Opera Australia Archives.

A group of people gather in period costume for a performance of The Marriage of Figaro.

Ronal Jackson as Count Almaviva, Ronald Maconaghie as Figaro and Cynthia Johnston as Susanna in our 1963 production of The Marriage of Figaro. Photo: Opera Australia Archives.

A group of people in period costume appear on stage in a performance of The Marriage of Figaro. Sheer fabric is draped above the stage.

A 1964 performance of our production of The Marriage of Figaro. Photo: Opera Australia Archives.

A group of people gather in period costume for a performance of The Marriage of Figaro.

Ronal Jackson as Count Almaviva, Ronald Maconaghie as Figaro and Cynthia Johnston as Susanna in our 1963 production of The Marriage of Figaro. Photo: Opera Australia Archives.

1971

British director John Copley created many of our most celebrated (and most frequently revived) productions throughout the 1970s and ‘80s. He was no stranger to Figaro, having already directed the opera multiple times, and collaborated with designers Henry Bardon and Michael Stennett to create a production that looked like an authentic snapshot of Vienna at the end of the 18th century.

Ronald Maconaghie returned to the role of Figaro, opposite Glenys Fowles as Susanna. They were joined by Rosemary Gordon, John Pringle, Jennifer Bermingham and Janice Taylor. Rosina Raisbeck took on the comedic role of Marcellina. The production was conducted by Walter Stiasny and received glowing reviews. It was considered a major step forward for the company, just two years before our new Sydney home, the Sydney Opera House, opened. The staging stayed in our repertoire for almost three decades.

A man sits at a desk in a powdered period wig in a performance of The Marriage of Figaro.

John Pringle as Count Almaviva in our 1971 production of The Marriage of Figaro. Photo: Opera Australia Archives.

John Pringle as Count Almaviva in our 1971 production of The Marriage of Figaro. Photo: Opera Australia Archives.

Four people in period costume stand in a comedic pose in a performance of The Marriage of Figaro

Glenys Fowles as Susanna, Ronald Maconaghie as Figaro, Rosina Raisbeck as Marcelline and Neil Warren-Smith as Doctor Bartolo in our 1971 production of The Marriage of Figaro. Photo: Opera Australia Archives.

A man and a woman stand in period dress, smiling.

Ronald Maconaghie as Figaro and Glenys Fowles as Susanna in our 1971 production of The Marriage of Figaro. Photo: Opera Australia Archives.

Four people in period costume stand in a comedic pose in a performance of The Marriage of Figaro

Glenys Fowles as Susanna, Ronald Maconaghie as Figaro, Rosina Raisbeck as Marcelline and Neil Warren-Smith as Doctor Bartolo in our 1971 production of The Marriage of Figaro. Photo: Opera Australia Archives.

A man and a woman stand in period dress, smiling.

Ronald Maconaghie as Figaro and Glenys Fowles as Susanna in our 1971 production of The Marriage of Figaro. Photo: Opera Australia Archives.

1992

British director Tim Albery, known for his forward-thinking operatic productions, was invited to Australia to create a new Figaro in 1992. Working with designer Anthony McDonald, Albery took a more serious-minded approach to the material than our previous productions, doing away with many of the gags.

Stephen Bennett starred as Figaro, with Ghillian Sullivan as Susanna, Peter Coleman-Wright as Count Almaviva, Amanda Thane as Coutness and Miriam Gormley as Cherubino.

The production was originally performed in Italian, but when Albery revisited the staging in 1995, an English translation was performed. The audience response was significantly stronger for the revised version.

A man in period dress stands against a rock in a performance of The Marriage of Figaro.

Stephen Bennett as Figaro in our 1992 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

Stephen Bennett as Figaro in our 1992 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

Two women stand either side of a door, one is dressed as a man. They are in a performance of The Marriage of Figaro.

Ghillian Sullivan as Susanna and Miriam Gormley as Cherubino in our 1992 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A man and a woman in period costume sit in bed in a performance of The Marriage of Figaro.

Amanda Thane as Countess Almaviva and Peter Coleman-Wright as Count Almaviva in our 1992 production of The Marriage of Figaro at the Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A man and a woman stand either side of a door, dressed in period costume, in a performance of The Marriage of Figaro.

Stephen Bennett as Figaro and Ghillian Sullivan as Susanna in our 1992 production of The Marriage of Figaro at the Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

Two women stand either side of a door, one is dressed as a man. They are in a performance of The Marriage of Figaro.

Ghillian Sullivan as Susanna and Miriam Gormley as Cherubino in our 1992 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A man and a woman in period costume sit in bed in a performance of The Marriage of Figaro.

Amanda Thane as Countess Almaviva and Peter Coleman-Wright as Count Almaviva in our 1992 production of The Marriage of Figaro at the Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A man and a woman stand either side of a door, dressed in period costume, in a performance of The Marriage of Figaro.

Stephen Bennett as Figaro and Ghillian Sullivan as Susanna in our 1992 production of The Marriage of Figaro at the Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

2002

Figaro is the sort of opera that stands up to both straight-out comedic productions and moodier interpretations. Australian director Neil Armfield’s 2002 production managed to find the perfect medium between the two, with Dale Ferguson’s eclectic but restrained design.

Simone Young conducted the production’s premiere, with Douglas McNicol as Figaro, Natalie Jones as Susanna, Jeffrey Black as Count Almaviva, Lisa Harper-Brown as Countess, and Tiffany Speight as Cherubino. Armfield won the Helpmann Award for Best Director of an Opera, and the 2011 revival was filmed for DVD and Blu-ray release, with Teddy Tahu-Rhodes, Taryn Fiebig, Peter Coleman-Wright and Rachelle Durkin.

A woman holds up a piece of sheet music to another who is playing guitar. They are both wearing period costume in a performance of The Marriage of Figaro.

Lisa Harper-Brown as Countess Almaviva and Kate Ladner as Susanna in our 2002 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

Lisa Harper-Brown as Countess Almaviva and Kate Ladner as Susanna in our 2002 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

A man in a red jacket holds a riding crop to a woman's face in a performance of The Marriage of Figaro.

Lisa Harper-Brown as Countess Almaviva and Jeffrey Black as Count Almaviva in our 2002 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

A man kisses a woman on the cheek as they embrace. An older man and woman stand either side of the embracing couple. They are in a performance of The Marriage of Figaro.

Conal Coad as Doctor Bartolo, Douglas McNicol as Figaro, Clare Gormley as Susanna and Margaret Haggart as Marcellina in our 2002 production of The Marriage of Figaro at the Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A group of people sit and stand in an elaborate period bedroom in a performance of The Marriage of Figaro.

A performance of our 2002 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

A man in a red jacket holds a riding crop to a woman's face in a performance of The Marriage of Figaro.

Lisa Harper-Brown as Countess Almaviva and Jeffrey Black as Count Almaviva in our 2002 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

A man kisses a woman on the cheek as they embrace. An older man and woman stand either side of the embracing couple. They are in a performance of The Marriage of Figaro.

Conal Coad as Doctor Bartolo, Douglas McNicol as Figaro, Clare Gormley as Susanna and Margaret Haggart as Marcellina in our 2002 production of The Marriage of Figaro at the Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A group of people sit and stand in an elaborate period bedroom in a performance of The Marriage of Figaro.

A performance of our 2002 production of The Marriage of Figaro at Arts Centre Melbourne. Photo: Jeff Busby/Opera Australia Archives.

2012

We’ve had few productions in our repertoire as divisive as Benedict Andrews’ version of The Marriage of Figaro. The Australian director brought his provocative lens to the opera, setting it in a modern day gated community. Ralph Myers (who was Artistic Director of Belvoir at the time) created a stark white set, offset by Alice Babidge’s modern and colourful costumes.

The production, conducted by Australian Simon Hewett, received glowing reviews, but divided audiences right down the centre. The opening night at the Sydney Opera House received some rapturous applause, but there were a few boos (incredibly rare in Australian opera houses!) ringing through the theatre.

Joshua Bloom played Figaro, with Taryn Fiebig as Susanna, Michael Lewis as Count Almavia and Russian soprano Elvira Fatykhova as Countess.

A man holding a baseball bat kisses a woman with long blonde hair in a performance of The Marriage of Figaro.

Joshua Bloom as Figaro and Taryn Fiebig as Susanna in our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

Joshua Bloom as Figaro and Taryn Fiebig as Susanna in our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A man sits on a white plastic chair holding a rifle as colourful confetti falls around him during a performance of The Marriage of Figaro.

Joshua Bloom as Figaro in our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A group of women in short red bridesmaids dresses perform a dance at a wedding scene.

A performance of our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A woman leans over to kiss another woman who is seated on the floor in front of a sheer curtain in a performance of The Marriage of Figaro.

Elvira Fatykhova as Countess Almaviva and Dominica Matthews as Cherubino in our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A man sits on a white plastic chair holding a rifle as colourful confetti falls around him during a performance of The Marriage of Figaro.

Joshua Bloom as Figaro in our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A group of women in short red bridesmaids dresses perform a dance at a wedding scene.

A performance of our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

A woman leans over to kiss another woman who is seated on the floor in front of a sheer curtain in a performance of The Marriage of Figaro.

Elvira Fatykhova as Countess Almaviva and Dominica Matthews as Cherubino in our 2012 production of The Marriage of Figaro at Sydney Opera House. Photo: Branco Gaica/Opera Australia Archives.

2015

Scottish director David McVicar had already created a celebrated Figaro for the Royal Opera House, Covent Garden when he directed the opera for us in 2015. This production features extraordinary, authentic 17th-century designs by Jenny Tiramani, bringing Mozart’s courtly world to life perfectly.

The production premiered in Sydney under conductor Guillaume Tourniaire​. It first starred Paolo Bordogna as Figaro, with Taryn Fiebig as Susanna. The production has received rave reviews each time it’s been performed in Melbourne and Sydney, with critics praising McVicar’s detailed dissection of the text and the world built on stage by Tiramani.

A man in 17th century period costume holds a marble bust in an aggressive way in a performance of The Marriage of Figaro.

Paolo Bordogna as Figaro in our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

Paolo Bordogna as Figaro in our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

A group of singers in blue costumes bring flowers to a woman in a yellow gown in a performance of The Marriage of Figaro.

Our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

A group of performers gather around a man standing on a bed in a performance of The Marriage of Figaro.

Our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

A man kneels before two women in a performance of The Marriage of Figaro.

Paolo Bordogna as Figaro, Taryn Fiebig as Susanna and Nicole Car as Countess Almaviva in our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

A group of singers in blue costumes bring flowers to a woman in a yellow gown in a performance of The Marriage of Figaro.

Our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

A group of performers gather around a man standing on a bed in a performance of The Marriage of Figaro.

Our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.

A man kneels before two women in a performance of The Marriage of Figaro.

Paolo Bordogna as Figaro, Taryn Fiebig as Susanna and Nicole Car as Countess Almaviva in our 2015 production of The Marriage of Figaro at Sydney Opera House. Photo: Prudence Upton/Opera Australia Archives.