Opera in 4 acts
Libretto by Lorenzo Da Ponte after Pierre Augustin Caron de Beaumarchais
First performed May 1 1786, Burgtheater, Vienna
Sung in Italian with German & English surtitles
Introductory talks (in German) in the Holzfoyer 30 minutes before performances begin and available here on video shortly before opening night
Conductor Thomas Guggeis / Alden Gatt
Figaro Kihwan Sim / Božidar Smiljanić
Susanna Elena Villalón
Almaviva Danylo Matviienko / Domen Križaj (Jan)
Countess Almaviva Adriana González (Oct) / Verity Wingate (Dec/Jan)
Cherubino Kelsey Lauritano / Helene Feldbauer°
Marcellina Cecelia Hall / Katharina Magiera
Bartolo Donato Di Stefano / Thomas Faulkner
Basilio / Don Curzio Magnus Diedrich
Barbarina Idil Kutay
Antonio Franz Mayer
°Mitglied des Opernstudios
Everybody seems to be sticking to the rules in Count Almaviva’s castle. On the pitch: four generations of players from different social backgrounds with fundamentally different views on life and love. But everything suddenly stops going to plan because the Count wants to violate the rules by re-establishing his right, a right he abolished himself, to be the first to sleep with his servant Figaro’s bride Susanna, whether she like it or not. This triggers off a chain reaction of situations which change hourly and get out of control. Disguised, or not, nobody recognises anyone any more. Things get dangerous and liberating as a crazy day draws to a close.
Mozart’s masterly setting to music of Lorenzo Da Ponte‘s libretto, based on Beaumarchais’ biting critical comedy, exploded onto the world not long before the start of the French Revolution. Their Figaro is, in more ways than one, a work packed with revolutionary dynamite. Rooted in Commedia dell‘Arte, it poses existential questions about how love can be defined and the (un)forecastability of life. Longings collide with social mores. The driving force and tempo of this very serious societal game stems from a mixture of vicious comedy and dangerous love intrigues. One of the most perfect musical comedies in operatic history portrays people in relationship to themselves and others at a time of radical change.
