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Royal Ballet and Opera

Orchestra

Orchestra of the Royal Opera House

Chorus

Chorus of the Royal Opera House

Direction d'orchestre

Direction d'orchestre (+1)

Julia Jones

Mise en scène

Mise en scène (+5)

David McVicar

Décors

Décors (+2)

Tanya McCallin

Costumes

Lumières

Lumières (+2)

Paule Constable

Chorégraphie

Chorégraphie (+1)

Leah Hausman

Baryton (+6)

Luca Micheletti

Figaro

Soprano

Ying Fang

Susanna

Baryton (+4)

Huw Montague Rendall

Le Comte Almaviva

Mezzo-soprano (+3)

Ginger Costa-Jackson

Cherubino

Baryton-basse (+4)

Peter Kálmán

Bartolo

Rebecca Evans

Marcellina

Ténor (+2)

Adrian Thompson

Don Basilio

Baryton-basse (+5)

Jeremy White

Antonio

Ténor (+3)

Alasdair Elliott

Don Curzio

Isabela Díaz

Barbarina

Chef de chœur

Chef de chœur (+2)

William Spaulding

Caroline Modiba

Première Dame

Soprano (+1)

Maria Bengtsson

La Comtesse Almaviva

Mezzo-soprano

Miranda Westcott

Deuxième Dame

Royal Opera House

Soprano (+2)

Jacquelyn Stucker

Renata Skarelytë

Luca Micheletti, Huw Montague Rendall, Ying Fang – in her much-anticipated debut with The Royal Opera – and former Jette Parker Young Artist Jacquelyn Stucker star as Figaro, the Count, Susanna and the Countess in David McVicar’s (The Magic Flute, Salome) beloved staging of The Marriage of Figaro, which shines with humour and humanity. Regular Covent Garden conductor Julia Jones leads the international cast, bringing to life the work that confirmed Mozart’s status as the premier opera composer of his day. 

NOTHING BUT FIGARO
Le nozze di Figaro (The Marriage of Figaro) was Mozart's first collaboration with Lorenzo Da Ponte, who also wrote the librettos for his operas Don Giovanni and Così fan tutte, and was first performed in 1786. It is based on Pierre Caron de Beaumarchais’ controversial play Le Mariage de Figaro, the sequel to his earlier stage work The Barber of Seville (memorably set to music by Giacomo Rossini). The Marriage of Figaro was initially banned due to its merciless satire of the upper classes, and so Da Ponte toned down much of the libretto’s political content. The result was a great success, with sold-out performances in Vienna and a frenzy of appreciation in Prague, where Mozart reported hearing 'nothing but Figaro!' on the streets.  David McVicar’s production, created in 2006, sets the action in a château in 1830 on the eve of France's second revolution. He explores the political and class conflicts at the core of Beaumarchais' play, while maintaining Mozart and Da Ponte's humanity and wit. 

MARVEL AT MOZART'S MUSIC 
From the bustling Overture to its poignant conclusion, The Marriage of Figaro is filled with wonderful music. You may recognise the bouncing tune of Figaro's ironic farewell to Cherubino in 'Non più andrai' (You shall go no more), as he packs the amorous teenager off to war. Cherubino’s lovestruck aria to the Countess, ‘Voi che sapete’ (You who know what love is), combines a sweet, pleading melody with an entertaining account of the first pangs of teenage lust. Meanwhile, the Countess’ aria, 'Dove sono' (Where are they [those happy moments]), eloquently conveys her pain and heartbreak as she longs for past happiness. 

Mozart’s opera also contains entertaining ensemble pieces, such as the closing scene of Act II, in which Figaro's plans unravel at breakneck speed. As so often with Mozart, forgiveness is a key theme and the Count's Act IV plea to his wife, 'Contessa, perdono' (Countess, forgive me), is another highlight of Mozart's genius.

FIGARO, FIGARO?   
If you’re wondering what that tune is, you may be looking for the 'Largo al factotum' (Make way for the factotum, or handyman) aria from Rossini’s opera, The Barber of Seville. Composed in 1816, Rossini's opera is the narrative prequel to Mozart’s The Marriage of Figaro, depicting the courtship of Rosina and Lindoro (aka the Countess and Count Almaviva) before their marriage. Prior to acting as servant to Count Almaviva, Figaro was a barber: a role he exploited to enable the lovers to outwit Rosina’s guardian. Considering their history, the Count’s attempted seduction of Figaro’s fiancée Susanna appears all the more scandalous.

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