Name: Le nozze di Figaro
Start: 2019-10-20T00:00:00.000Z
End: 2019-12-14T00:00:00.000Z
Location: Opernhaus

Admin

Organization

Bass

Tobias Schabel

Figaro

Soprano

Marie Heeschen

Susanna

Louise Kemény

Baritone

Giorgos Kanaris

The Count of Almaviva

Anna Princeva

The Countess of Almaviva

Barbara Senator

Mezzo-soprano

Emma Sventelius

Cherubino

Valentina Stadler

Marta Wryk

Martin Tzonev

Bartolo

Susanne Blattert

Marcelline

Tenor

Christian Georg

Basilio

Don Curzio

Ava Gesell

Barbarina

Boris Beletskiy

Antonio

Singer

Vardeni Davidian

Contadine

Jeanette Katzer

Sonja Bük

Tiina Sahiro

Conductor

Hermes Helfricht

Stage director

Aron Stiehl

Barbara Schröder

Set designer

Timo Dentler

Costume designer

Okarina Peter

Lighting designer

Max Karbe

Choreographer

bo komplex

Chorus master

Marko Medved

Dramaturge

Tilmann Böttcher

Theater Bonn

Orchestra

Beethoven Orchester Bonn

Others

Choir of the Bonn Theater

italština

Le nozze di Figaro -  (The Marriage of Figaro)

Bonn

Germany

Opernhaus

Foyer

Le nozze di Figaro Mozart

Public

The Marriage of Figaro

němčina

Approved

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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