The publication of the drama text The Great Day or The Marriage of Figaro was a scandal in Paris shortly before the French Revolution. It was written by Pierre-Augustin Caron de Beaumarchais, a watchmaker, financial speculator and occasional poet who mocked the conditions of his time in his comedy: the arbitrariness and amorality of the nobility, the corruption of the judiciary, the mendacity of the political elite. A scheduled performance of the material was banned. And it is precisely this politically highly explosive material that aroused the interest of the Viennese composer Wolfgang Amadeus Mozart. Together with his librettist Lorenzo Da Ponte, despite the risk of censorship, he set about creating a work for the opera stage from the original. We know the result:Le nozze di Figaro is one of the most inspired, brilliant and profound operas in music history. In Mozart's Figaro there is an energy of upheaval that makes the situation dance. Superficially, the score indulges in the frenzy of confusing intrigues, but combines it with socially critical subversion and reveals, as if by the way, musically touching illuminated portraits of the soul of the protagonists.
This is not a material from yesterday. The director Jan Philipp Gloger, who is equally at home in drama and opera, steps up to prove this in our new production. Gloger loves to check the fabrics for their suitability for the present and in his previous directorial work in Zurich, from Antonio Vivaldi's La verità in cimento to Emmerich Kálmán's Csárdásfürstin, has always found solutions that locate the pieces in a today that is as surprising as it is profound. In Mozart's Figaro, which is about aggressive men, self-confident women and the ubiquitous sexual desire, he should succeed in that too. Gloger receives support from a young Mozart soloist ensemble and the conductor Stefano Montanari, who is stylistically very close to historically informed performance practice.