Organization

Scenic direction of the recovery

Barbara Schroeder

Studienleitung

Pauli Jämsä

Stage Design Assistant

Ansgar Baradoy

Costume Assistant

Dieter Hauber

Singer

Soprano

Lada Bočková

Susanna

Bass

Tobias Schabel

Figaro

Mezzo-soprano

Charlotte Quadt

Cherubino

Anjara Ingrid Bartz

Marcelline

Tenor

Johannes Mertes

Basilio

Don Curzio

Martin Tzonev

Bartolo

Boris Beletskiy

Antonio

Ava Gesell

Barbarina

Conductor

Daniel Johannes Mayr

Stage director

Aron Stiehl

Lighting designer

Max Karbe

Set designer

Timo Dentler

Okarina Peter

Baritone

Giorgos Kanaris

The Count of Almaviva

Anna Princeva

The Countess of Almaviva

Marie Heeschen

Anne-Fleur Werner

Hermes Helfricht

Chorus master

Marco Medved

Repetiteur

Igor Horvat

Marta Wryk

Jeanette Katzer

Contadine

Vardeni Davidian

Tiina Sahrio

Sonja Bük

Dramaturge

Tilmann Böttcher

Choreographer

bo komplex

Hammerklavier

Theater Bonn

Orchestra

Beethoven Orchester Bonn

Others

Choir of the Bonn Theater

italiană

Le nozze di Figaro -  (The Marriage of Figaro)

Bonn

Germany

Opernhaus

Le nozze di Figaro Mozart

Public

Private

The Marriage of Figaro

germană

engleză

Approved

WOLFGANG AMADÉ MOZART Opera buffa in vier Akten  Dichtung von Lorenzo da Ponte nach dem Lustspiel  LA FOLLE JOURNÉE OU LE MARIAGE DE FIGARO  von…

Le nozze di Figaro

After COSÌ FAN TUTTE and DON GIOVANNI, LE NOZZE DI FIGARO is the third work in the collaboration between Wolfgang Amadé Mozart and his most important librettist Lorenzo da Ponte in a new production on the Bonn Opera repertoire.

Beaumarchais, comedy DER TOLLE TAG, written in 1778, was still banned for performances on Viennese stages in the German translation by Johann Rautenstrauch from 1785 - it is all the more astonishing that Lorenzo da Ponte, in direct contact with Emperor Joseph II, obtained the approval received to set it up as a libretto for the opera stage of the imperial court theatre. Even the intrigues of fellow librettist Giambattista Casti were unable to reverse this decision of the highest court: On May 1, 1786, Mozart's FIGARO was released at the Burgtheater and laid the foundation for a collaboration between two artists of this rank that is almost unrivaled in the history of opera.

The renunciation of accessories and tendrils, which may still have their meaning in the comedy, the concentration on the essential and generally comprehensible storylines help the play to its unique rank. From today's point of view, however, it is still interesting that the authors managed to leave the politically explosive power of the material almost untouched.

After COSÍ FAN TUTTE and DON GIOVANNI, this new production of LE NOZZE DI FIGARO is the third example of the collaboration between Wolfgang Amadé Mozart and his most eminent librettist, Lorenzo da Ponte, in Oper Bonn’s repertoire.

Beaumarchais’ comedy THE MAD DAY, or THE MARRIAGE OF FIGARO, written in 1778, had been banned for performances in Vienna in its 1785 German translation by Johann Rautenstrauch. It is all the more surprising that Lorenzo da Ponte received permission directly from Emperor Joseph II to adapt it into a libretto for the opera stage of the imperial court theatre. Even the machinations by fellow librettist Giambattista Casti were unable to reverse this decision from the highest authority: On 1 May 1786, Mozart’s FIGARO premiered at the Burgtheater, laying the foundations for an almost peerless collaboration between two artists of this rank.

The authors eschewed trappings and ornamentation that may have had significance for the comedy, concentrating on its essential and generally relatable plotlines which helped the work to achieve its unique standing. From a contemporary perspective, it is still interesting to see how the creators managed to leave the politically explosive force of the material largely unaltered.

English

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