The Guilty Mother by Milhaud, þri 12 maí 2015, Frá (2015/2015), Leikstýrt af Herbert Föttinger, Hljómsveitarstjóri Leo Hussain, Theater an der Wien, Vienna, Austria

Beaumarchais' third play about the Almavivas and their servants is more of a bourgeois touching piece than a comedy like the two preceding ones. Even La mère coupable had great about the poet's lifetime success and was intended to set to music. There was a project with the then successful French composer André Grétry. Beaumarchais' death in 1799, however, ruined the plan, and La mère coupable had to wait a long time for it to be set to music. The French composer Darius Milhaud (1892-1974) rediscovered it and created an oppressive chamber play out of the stirring piece, which, however, through Figaro's prudence and love, leads the figures caught in moral constraints to tolerance and ends happily. The Almavivas live in Paris with their son Léon and their foster daughter Florestine. Figaro and Suzanne are still in the Count's service. Léon and Florestine are in love with each other. An intriguer has crept into the family, a certain Begearss. His goal is to steal the Count's fortune, because he alone knows all the delicate secrets of this family and plays them skillfully for his own purposes: Florestine is the Count's illegitimate daughter, and Léon is the Countess' son, who has since become Cherubin who died in the war. Begearss proves to the count that Léon is not his son, whereupon he makes Florestine his heiress with a large dowry. The intriguer now makes Léon and Florestine believe that they are siblings and therefore are not allowed to marry and advertises Florestine himself. But Figaro and Suzanne see through the wrong game and work against him. The tangle of half-truths and shamefully guarded heart secrets is only untied when the count becomes aware of his love for his wife at the height of the entanglements: All lies end, Begearss is driven out and Léon and Florestine can marry.