Organization

Admin

Singer

Baritone

Michael Borth

The Count of Almaviva

Bass

Juan Orozco

Figaro

Soprano

Katharina Ruckgaber

Susanna

Anja Jung

Marcelline

Mezzo-soprano

Inga Schäfer

Cherubino

Marie-Luise Dreßen

Jin Seok Lee

Bartolo

Tenor

Junbum Lee

Basilio

Janina Staub

Barbarina

Margarete Nüßlein

First bridesmaid

Charis Peden

Second bridesmaid

Conductor

Ektoras Tartanis

Stage director

Joan Anton Rechi

Set designer

Sebastian Ellrich

Costume designer

Sandra Münchow

Lighting designer

Michael Philipp

Choreographer

Graham Smith

Chorus master

Norbert Kleinschmidt

Dramaturge

Tatjana Beyer

Annika Hertwig

Yunus Schahinger

Antonio

Irina Park

The Countess of Almaviva

Theater Freiburg

Hyun Han Hwang

Don Curzio

Others

Opernchor des Theater Freiburg

Orchestra

Philharmonisches Orchester Freiburg

Le nozze di Figaro -  (The Marriage of Figaro)

Freiburg

Germany

Grosses Haus

Le nozze di Figaro Mozart

Public

Private

The Marriage of Figaro

Approved

Die Hochzeit des Figaro TRAILER

It should be the best day of your life. But it is not easy for the young couple Susanna and Figaro to say yes. As employees of the count's couple, they become the pawns of their broken marriage and suddenly find themselves in turbulent erotic entanglements that leave their mark on the young couple and subject the mutual trust to an initial serious test.

Mad, foolish, confused and blind, the characters in Mozart's THE MARRIAGE OF FIGARO stumble from one awkward situation to the next. You swap clothes and people, hide, outwit, lie and cheat. Only Susanna and the Countess form a female alliance that transcends all class boundaries and drives the men through the thicket of their self-made errors with prudence and improvisational skills. The basis for Mozart's opera, Beaumarchais' socially critical comedy DER TOLLE TAG about the abuse and arbitrariness of the ruling class, became a political scandal in 1785 shortly before the French Revolution. But Lorenzo Da Ponte softened the political sharpness and sharpened the human weaknesses in his opera libretto. Here there are people on the stage whose actions, even if they are questionable, remains understandable. And the unsurpassed music of Mozart blends with the action in a way that was unheard of and remains unmatched to this day.

The director is Andorran director Joan Anton Rechi, whose production of LOVE LIFE (2017) in Friborg became a real audience favorite and who seems to be unaware of anything human, all too human, in his lively productions.

English

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