Name: Le nozze di Figaro
Start: 2023-01-15T00:00:00.000Z
End: 2023-01-20T00:00:00.000Z
Location: Opéra Royal

Organization

Conductor

Marc Minkowski

Stage director

Ivan Alexandre

Set designer

Antoine Fontaine

Costume designer

Lighting designer

Singer

Bass

Robert Gleadow

Figaro

Baritone

Thomas Dolié

The Count of Almaviva

Soprano

Ana Maria Labin

The Countess of Almaviva

Alix Le Saux

Marcelline

Mezzo-soprano

Miriam Albano

Cherubino

Norman D Patzke

Bartolo

Antonio

Tenor

Paco Garcia

Don Curzio

Manon Lamaison

Barbarina

Basilio

Angela Brower

Susanna

Gran Teatre del Liceu

Les Musiciens du Louvre

Opéra National de Bordeaux

Opéra Royal de Versailles

Drottningholms Slottsteater

Orchestra

イタリア語

Le nozze di Figaro -  (The Marriage of Figaro)

Versailles

France

Opéra Royal

Le nozze di Figaro

Public

Private

The Marriage of Figaro

フランス語

英語

Approved

Entre 1786 et 1790, Mozart et Da Ponte signèrent leur célèbre Trilogie comprenant trois opéras majeurs, "Les Noces de Figaro" (1786), "Don Giovanni" (1787), puis "Così fan tutte" (1790).

👉 Les Noces de Figaro | Dimanche 15 et vendredi 20 janvier 2023 à l'Opéra Royal de Versailles : https://www.chateauversailles-spectac...

👉 Don Giovanni | Mardi 17 et samedi 21 janvier 2023 à l'Opéra Royal de Versailles : https://www.chateauversailles-spectac...

👉 Così Fan Tutte | Mercredi 18 et dimanche 22 janvier 2023 à l'Opéra Royal de Versailles : https://www.chateauversailles-spectac...

Leurs points communs sont très puissants : voici trois opéras italiens, à la manière buffa, trois " drama giocoso ", destinés à la troupe de l'Opéra de Vienne ; chacun présente l'action ramassée sur une seule journée, gage d'urgence et de brio ; l'influence française est évidente partout : Figaro inspiré de Beaumarchais, Don Giovanni reprenant le personnage rebelle et flamboyant illustré par Molière, et Così dans un style tiré de Marivaux et de l'opéra-comique français plébiscité à Vienne. Enfin c'est l'esprit de liberté qui unit ces trois œuvres et nous parle encore aujourd'hui, alors qu'en son temps il était particulièrement osé.

━━━ 🎶 ━━━ 

Les Musiciens du Louvre
Marc Minkowski - Direction
Ivan Alexandre - Mise en scène

Opera-bouffe in four acts on a libretto by Lorenzo da Ponte after Le Mariage de Figaro by Beaumarchais, premiered in Vienna in 1786.

It is perhaps, with Wagner's Tetralogy, the most famous cycle of lyrical art: between 1786 and 1790, Mozart and Da Ponte signed their famous Trilogy comprising three major operas, The Marriage of Figaro (1786), Don Giovanni (1787), then Così fan tutte (1790). In truth, in the vast production of Mozart, these three works are perhaps the most accomplished, thanks to the librettist Lorenzo Da Ponte. The latter, who had become a must in Vienna, brought Mozart not only a guarantee of success, but also librettos tailored to the composer's genius. Because the music is festive, the three works never leaving the listener any respite, linking situations, arias, duets and sumptuous ensembles.
Their points in common are very powerful: here are three Italian operas, in the buffa style, three “drama giocoso”, intended for the troupe of the Vienna Opera; each presents the action collected over a single day, a guarantee of urgency and brilliance; the French influence is evident everywhere: Figaro inspired by Beaumarchais, Don Giovanni taking up the rebellious and flamboyant character illustrated by Molière, and Così in a style taken from Marivaux and the French comic opera acclaimed in Vienna. Finally, it is the spirit of freedom that unites these three works and still speaks to us today, when in its time it was particularly daring. Libertines, the heroes of the Trilogy certainly are: in politics for Figaro who, like Beaumarchais, breaks down social barriers and leads the way,
Le Nozze di Figaro mark the beginning of Mozart's collaboration with Da Ponte. It was Mozart who suggested adapting the firebrand that Beaumarchais had just had performed in Paris in 1784: The Marriage of Figaro, which Emperor Joseph II had banned in Vienna. But by removing the political texts from the libretto, Da Ponte allowed the original scintillating comedy to be played, translated into Italian, without censorship problems (even if everyone knew the context well…). When it was created in 1786, success was mixed in Vienna, but Prague was enthusiastic about this amorous imbroglio located in Seville, where the Countess and Suzanna play cat and mouse with these gentlemen, in particular to avoid the Count's designs on his servants... Figaro undertakes to put all this little world at his own pace, to confuse his Master while preserving the Countess' relationship with Cherubino. Here is an infernal machine launched at full speed, which allows Mozart airs of great beauty, a Figaro with exceptional slaughter, and reversals of situation which are the subject of great numbers of brilliant ensembles at the end of each act. Jubilatory!
So here are presented in one go, in three days therefore, and in the order of their composition, the three operas of this famous Trilogy. The characters (and their interpreters) find themselves from one work to another, so much the bonds of love and power run through these three emblematic operas, to the point of imagining that they would have been three acts of a whole. 'exception. This is in any case the choice of Ivan Alexandre and Marc Minkowski, in the malleable decor of trestles and veils designed by Antoine Fontaine for the stage of the Drottningholm Historical Theater and that of the Royal Opera of Versailles. The bet of this "integral" is great for the singers, who must have in mind and in their voices nearly nine hours of music, without being able to rehearse or rest between each evening… The shock team gathered for this project with the Musicians of the Louvre, should bring it to incandescence! And the bet for the spectator is here, of course, to see the three operas in three successive days, to be dazzled more than ever by an absolute concentration of Mozartian genius!!!

English

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