This summer, Glyndebourne saw the directorial debut of Danielle de Niese with a production of Mozart’s *The Marriage of Figaro*. Unlike the usual setting at Glyndebourne’s Sussex venue, this performance took place in a barn in Essex, featuring a minimalist set design that marked a notable shift from Mariame Clément’s lavish 2025 production, which Glyndebourne will revive during its autumn season.

Designed by Julia Hansen, the set revealed expansive hallways and courtyards ideal for depicting the opera’s themes of intrigue and surveillance. Windows painted with Fragonard-style foliage transitioned from opaque to transparent, allowing servants to continuously observe the unfolding drama, highlighting the absence of privacy within the narrative.

Anton Beliaev, a baritone, portrayed the Count with a brooding intensity, effectively conveying a character who struggles to maintain control in his marriage. The Count’s volatility contrasted with the reaction of his wife, portrayed by soprano Madeline Boreham, whose expressive performance in the Countess’s arias was widely seen as the evening’s highlight, capturing the emotional depth of their deteriorating relationship.

The role of Figaro was taken on by bass Jasurbek Khaydarov in his UK operatic debut, delivering a richly resonant voice. However, some noted that Henna Mun, a young soprano who assumed the part of Susanna at short notice, brought a vivacious energy and comedic timing that at times seemed to surpass Khaydarov’s presence. Supporting roles included Mark Milhofer as Basilio, Madeleine Shaw as Marcellina, Henry Waddington as Bartolo, and Rachel Roper’s portrayal of Cherubino was praised for its convincing youthful charm.

Musically, the production was accompanied by Matthew Fletcher on fortepiano, whose performances added witty flourishes. The singers, eager to showcase their vocal agility, occasionally outpaced the orchestra, which was conducted by Bertie Baigent. While the orchestra’s energy was noted as exuberant, particularly in early ensemble scenes where it sometimes dominated, it was restrained effectively in the final act set in a garden. This concluding scene was enhanced by blue lighting that underscored Cherubino’s youthful fantasies, among several thoughtful directorial choices.

Overall, this fresh interpretation of *The Marriage of Figaro* was met with appreciation for its inventive staging and strong vocal performances, offering a distinctive alternative to Glyndebourne’s more traditional presentations. The production will continue to run through November 8.