Organization

Chorus master

Erwin Ortner

Singer

Soprano

Enkelejda Shkosa

Marcelline

Choreographer

Kateryna Sokolova

Baritone

Florian Boesch

The Count of Almaviva

Cristina Pasaroiu

The Countess of Almaviva

Giulia Semenzato

Susanna

Bass

Robert Gleadow

Figaro

Maurizio Muraro

Bartolo

Tenor

Andrew Owens

Basilio

Johannes Bamberger

Don Curzio

Ekin Su Paker

Barbarina

Ivan Zinoviev

Antonio

Conductor

Stefan Gottfried

Stage director

Alfred Dorfer

Lighting designer

Benedikt Zehm

Mezzo-soprano

Patricia Nolz

Cherubino

Costume designer

Christian Andre Tabakoff

Set designer

MusikTheater an der Wien

Orchestra

Concentus Musicus Vienna

意大利文

Le nozze di Figaro -  (The Marriage of Figaro)

Vienna

Austria

Theater an der Wien

Grosser Pausenraum

Once upon a time, Count Almaviva, with the help of the barber Figaro, freed the commoner Rosina from the clutches of her greedy guardian, Doctor Bartolo, and made him his wife. Since then they have lived in a castle near Seville. Figaro is a valet on the domestic equipage, as is his fiancée, Susanna, the Countess's maid. After the upcoming wedding, they want to move into the room assigned to them by the Count. While Figaro initially considers it an advantage that her room is next to the Count's apartments, Susanna enlightens him about Almaviva's intentions: the Count has his eye on her. For quite some time he has been bored in his marriage and likes to look around for new objects. So now it should be Susanna. But the Count must use cunning and seduction, because he himself abolished the "ius primae noctis" - the right of the first night - to which the nobility was entitled. The Countess has known for a long time that her husband is unfaithful to her and talks to Susanna about it. She tells him about the count's advances towards her. Figaro arrives and a plan is quickly hatched: on the one hand, the Count is to be deceived into believing that his wife has a lover, and on the other hand, he is promised a tryst with Susanna, for which the page Cherubino, disguised as a woman, is to appear. The plan doesn't work out completely... The Countess hasn't given up hope and wants to fight for her husband's love. Susanna and she agree to swap dresses after the wedding - they now pursue their own plan. Finally the wedding takes place. Susanna secretly gives the Count a love letter previously dictated by the Countess, Figaro is plagued by jealousy. The game of confusion begins in the garden at night: the newly married couple fools each other, Cherubino wants to kiss the Countess, but accidentally kisses the Count, for which Figaro gets a slap in the face. Finally the jealous Count spots his wife with Figaro. He would like to reveal them to the public in flagrante delicto. But before that there was this exchange of clothes... for which Figaro gets a slap in the face. Finally the jealous Count spots his wife with Figaro. He would like to reveal them to the public in flagrante delicto. But before that there was this exchange of clothes... for which Figaro gets a slap in the face. Finally the jealous Count spots his wife with Figaro. He would like to reveal them to the public in flagrante delicto. But before that there was this exchange of clothes...

Emmanuele Conegliano: born in 1749, converted from Judaism to Catholicism in 1763, received minor orders in 1765, was ordained an abbe in 1773, has been a poet for the Italian theater under Joseph II in Vienna since 1783 – better known to us as Lorenzo Da Ponte, the congenial librettist of Wolfgang Amadeus Mozart as well as a filou with numerous amorous relationships, debts and lawsuits. How exactly the collaboration with Mozart – Figaro was the first joint work of the two – came about can no longer be reconstructed exactly. Rumor has it that they met as early as 1783. Da Ponte's memoirs do exist, but these are not to be taken seriously as historical documents. What is certain is that Mozart must have known the opera Il barbiere di Siviglia by Giovanni Paisiello, for it had been shown very successfully in Vienna in 1783, as the first setting of Beaumarchais' Figaro trilogy, and the two composers had also met the following year. When the second play about this bustling barber came out in Paris with great success and scandal, the idea of ​​emulating Paisiello's success on the basis of the new Beaumarchais play was obvious. However, Mozart and Da Ponte had to mitigate the politically explosive template considerably in order to be able to obtain permission for the performance of their opera project at the Vienna Court Opera in 1786. In the libretto, Da Ponte worked out the difficult emotional relationships between the characters and thus provided Mozart's art of composition with a template of equal value: his music deepens the characters to an extent which has hardly been equaled in the history of opera and turns comedy into a drama of the soul. Despite Da Ponte's depoliticization, the work still shows the social upheaval from the Ancien Régime to the bourgeois age - the power of the count is broken, he has to bow to a bourgeois emotional morality. Since this bourgeois era is still ongoing, the events of the play are still of interest to us, and Mozart's music also keeps us deeply touched by the emotions of his models. he has to bow to a bourgeois sentimental morality. Since this bourgeois era is still ongoing, the events of the play are still of interest to us, and Mozart's music also keeps us deeply touched by the emotions of his models. he has to bow to a bourgeois sentimental morality. Since this bourgeois era is still ongoing, the events of the play are still of interest to us, and Mozart's music also keeps us deeply touched by the emotions of his models.

The Marriage of Figaro

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