Organization

Admin

Bavarian State Opera

Conductor

Conductor (+2)

Susanna Mälkki

Stage director

Evgeny Titov

Set designer

Set designer (+1)

Annemarie Woods

Lighting designer

D.M. Wood

Dramaturge

Katja Leclerc

Janine Ortiz

Soprano (+2)

Dorothea Röschmann

Marcelline

Bass-baritone (+4)

Willard White

Bartolo

Tenor (+6)

Tansel Akzeybek

Basilio

Kevin Conners

Don Curzio

Bass (+4)

Martin Snell

Antonio

Mezzo-soprano (+2)

Ekaterine Buachidze

First bridesmaid

Seonwoo Lee

Second bridesmaid

Orchestra

Bavarian State Orchestra

Nationaltheater Munich

Chorus

Bayerische Staatsoper Chorus

Chorusmaster

Chorusmaster (+1)

Franz Obermair

Baritone (+6)

Peter Mattei

The Count of Almaviva

Soprano (+1)

Louise Alder

Susanna

Baritone (+5)

Konstantin Krimmel

Figaro

Contralto (+5)

Avery Amereau

Cherubino

Soprano

Sarah Dufresne

Barbarina

Sarah Wieners

The Countess of Almaviva

Soprano (+3)

Golda Schultz

Munich Opera Festival

Malin Byström

Maria Bengtsson

Julie Fuchs

Bass-baritone (+2)

Philippe Sly

Mezzo-soprano (+3)

Emily D'Angelo

Eirin Rognerud

Baritone (+3)

Björn Bürger

Davide Luciano

Count Almaviva has himself abolished the iusprimae noctis, or "right of the lord". A fact, however, which does not prevent him from trying to seduce the Countess’s maid, Susanna, just before her marriage to Figaro. A clear case of sexual harassment. But, what happens when the culprit has plenty of money and power? Or, can even bend the law to suit their wishes? Le nozze di Figaro was more than just a comedy back in Mozart’s day. The world portrayed is brim full of criminal machinations and blatant fraud and chicanery by the powerful and almighty. Lorenzo Da Ponte’s libretto based on the scandalous play by the French revolutionary, Beaumarchais, leads the colourful characters of a comedy of the classes into situations so hopeless that emptiness and the desire to die spread to all quarters. And so the Count’s love for his new wife following their marriage suddenly goes ice-cold, although he has just recently spectacularly freed her from the clutches of her custodian. The resourceful Figaro of all people had helped him here, and in gratitude, the Count now employs him as his personal valet, perhaps as questionable compensation for Susanna’s harassment. Hardly conquered, the countess finds herself neglected and longs for either Almaviva's love or her own death. It takes a great deal of intrigue and counter-intrigue to disempower the encroaching count and allow Susanna's wedding to her beloved Figaro to take place after all.

With much love for tempo and situation comedy, the staging by Evgeny Titov examines the question as to why humanity proves time and again how fragile it is and where the weak points are. For this, the immense versatility of Mozart’s music unfurls its very own dynamic in the unleashing of jealousy and desire.

Iodáilis