Name: Le nozze di Figaro
Start: 2014-03-06T00:00:00.000Z
End: 2014-03-29T00:00:00.000Z
Location: Theater an der Wien

Admin

Organization

Baritone

Bo Skovhus

The Count of Almaviva

Soprano

Christine Schäfer

The Countess of Almaviva

Mari Eriksmoen

Susanna

Bass

Andrè Schuen

Figaro

Mezzo-soprano

Elisabeth Kulman

Cherubino

Ildikó Raimondi

Marcelline

Christina Gansch

Barbarina

Conductor

Nikolaus Harnoncourt

Chorus master

Erwin Ortner

Peter Kálmán

Bartolo

Antonio

Tenor

Mauro Peter

Basilio

Don Curzio

Libretto

Lorenzo Da Ponte

Don Giovanni

Mika Kares

Commendatore

Masetto

Donna Anna

Don Ottavio

Maité Beaumont

Donna Elvira

Ruben Drole

Leporello

Zerlina

Fiordiligi

Katija Dragojevic

Dorabella

Guglielmo

Ferrando

Despina

Markus Werba

Don Alfonso

MusikTheater an der Wien

Others

Arnold Schoenberg Chor

Orchestra

Concentus Musicus Vienna

ítalska

Le nozze di Figaro -  (The Marriage of Figaro)

Vienna

Austria

Theater an der Wien

From the Theater an der Wien. Wolfgang Amadeus Mozart (1756-1791): "Don Giovanni" in a concert performance. Musical direction: Nikolaus Harnoncourt. With Andrè Schuen (Don Giovanni), Christine Schäfer (Donna Anna), Mauro Peter (Don Ottavio), Mika Kares (Il Commendatore/Masetto), Maite Beaumont (Donna Elvira), Ruben Drole (Leporello), Mari Eriksmoen (Zerlina). In March 2014, Nikolaus Harnoncourt, a world-renowned original sound specialist, conducted all three operas that Mozart wrote to libretti by Lorenzo Da Ponte, in the sound guise he had in mind after decades of intensive study of Mozart. Again and again the familiar could be heard in a new way in this concentration on the essentials by Harnoncourt, the tireless discoverer and researcher. " if his perspective hasn't changed over the years. For him, the quintessence of the really great masterpieces is that they never have to be updated because they have been current for centuries.

From the Theater an der Wien. Wolfgang Amadeus Mozart (1756-1791): "Così fan tutte" in a concert performance. Musical direction: Nikolaus Harnoncourt. With Mari Eriksmoen (Fiordiligi), Katija Dragojevic (Dorabella), Mauro Peter (Ferrando), Andrè Schuen (Guillelmo), Elisabeth Kulman (Despina), Markus Werba (Don Alfonso). In March 2014, Nikolaus Harnoncourt, a world-renowned original sound specialist, conducted all three operas that Mozart wrote to libretti by Lorenzo Da Ponte, in the sound guise he had in mind after decades of intensive study of Mozart. Again and again the familiar could be heard in a new way in this concentration on the essentials by Harnoncourt, the tireless discoverer and researcher. "Nikolaus Harnoncourt is active in old age as a Mozart extremist", wrote the Salzburger Nachrichten and went on to report: "The audience enthusiastically celebrated those involved for the fascinating adventure". Da Ponte was Mozart's long-awaited partner, who gave language to his idea of ​​musical theater; in four years the two together created "Le nozze di Figaro", "Don Giovanni" and "Così fan tutte" - three pioneering masterpieces in opera history. Nikolaus Harnoncourt has dealt intensively with them and has often given the audience great moments. Again and again he allows us to discover something new in the apparently so familiar works and he always finds a new approach to them himself. He must be embarrassed, he says, if his perspective hasn't changed over the years.

rom the Theater an der Wien. Wolfgang Amadeus Mozart (1756-1791): "Le nozze di Figaro" in a concert performance. Musical direction: Nikolaus Harnoncourt. With Bo Skovhus (Conte di Almaviva), Christine Schäfer (Contessa di Almaviva), Mari Eriksmoen (Susanna), Andrè Schuen (Figaro), Elisabeth Kulman (Cherubino), Ildikó Raimondi (Marcellina), Peter Kálmán (Bartolo/Antonio), Mauro Peter (Basilio/Don Curzio), Christina Gansch (Barbarina). In March 2014, Nikolaus Harnoncourt, a world-renowned specialist in original sound, conducted all three operas that Mozart wrote to libretti by Lorenzo Da Ponte, in the sound guise he had in mind after decades of intensive study of Mozart. Again and again the familiar could be heard in a new way in this concentration on the essentials by Harnoncourt, the tireless discoverer and researcher. "Nikolaus Harnoncourt is a Mozart extremist in his old age," wrote the Salzburger Nachrichten and went on to report: "The audience enthusiastically celebrated the participants for the fascinating adventure". Da Ponte was Mozart's long-awaited partner, who gave language to his idea of ​​musical theater; in four years the two together created "Le nozze di Figaro", "Don Giovanni" and "Così fan tutte" - three pioneering masterpieces in opera history. Nikolaus Harnoncourt has dealt intensively with them and has often given the audience great moments. Again and again he allows us to discover something new in the apparently so familiar works and he always finds a new approach to them himself. He must be embarrassed, he says, if his perspective hasn't changed over the years. For him, the quintessence of the really great masterpieces is that they never have to be updated because they have been current for centuries.

Public

The Marriage of Figaro

Così fan tutte

Approved

Le nozze di Figaro Mozart (+2 More)

Wolfgang Amadeus Mozart's collaboration with Lorenzo Da Ponte is one of the happiest and most profitable symbioses in opera history. Mozart had always longed for a congenial librettist; he found him in the Italian adventurer. The two created three works within four years:
Le nozze di Figaro (1786), Don Giovanni (1787) and Così fan tutte (1789/90). The subjects of the three operas are completely different: Le nozze di Figaro shows contemporary social conflicts, Don Giovanni presents the life of a libertine and Così fan tutte explores human love and its questionability.
What the works have in common, however, is the explosive potential for renewal in terms of content and form: with them Mozart and Da Ponte redefined the opera genre. Never before have characters in operas been so precisely interpreted musically, so designed as individuals: every gesture, every word, every emotion is musically and dramatically characterized, commented or ironized in a comprehensible way. This realism is also expressed in the unusually fragile conclusions. All works turn out well on the surface, but the events of the opera have called the respective basic conditions into question and the end no longer creates an ideal world - the established political, moral and emotional order is only painstakingly cemented - none of the characters can really continue to live as before.
Audience as for all later composers and librettists:
the genre of opera has become something different after the Mozart-Da-Ponte triad.

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