Name: Le nozze di Figaro
Start: 2012-11-17T00:00:00.000Z
End: 2013-03-08T00:00:00.000Z
Location: Musiktheater im Revier

Organization

Baritone

Michael Dahmen

The Count of Almaviva

Soprano

Petra Schmidt

The Countess of Almaviva

Alfia Kamalova

Susanna

Dorin Rahardja

Bass

Piotr Prochera

Figaro

Mezzo-soprano

Anke Sieloff

Cherubino

Almuth Herbst

Marcelline

Tenor

E. Mark Murphy

Basilio

Sun-Myung Kim

Don Curzio

Dong-Won Seo

Bartolo

Nikolai Miassojedov

Antonio

Barbarina

Tina Stegemann

Conductor

Valtteri Rauhalammi

Stage director

Peter Hailer

Costume designer

Uta Meenen

Set designer

Etienne Pluss

Dramaturge

Juliane Schunke

Musiktheater im Revier

italijanščina

Le nozze di Figaro -  (The Marriage of Figaro)

Gelsenkirchen

Germany

Le nozze di Figaro Mozart

Public

The Marriage of Figaro

nemščina

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Bass-baritone

Contralto

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

Graf Almaviva setzt alles daran, die Hochzeit seines Dieners Figaro mit der Zofe Susanna zu verhindern. Er will sie für sich selbst gewinnen, zumal seine Gefühle für die ihn aufrichtig liebende Gräfin Rosina längst erkaltet sind. Auch Marcellina bedroht die Hochzeitsvorbereitungen: Figaro hatte ihr einst die Ehe versprochen, nun will sie gemeinsam mit Doktor Bartolo und Musiklehrer Basilio ihre Ansprüche geltend machen. Schließlich ist da noch der Page Cherubino, der nicht nur die Gräfin in Verwirrung stürzt ... Allerhand Verwechslungen und Intrigen müssen ihren Lauf nehmen, bevor die rechtmäßigen Paare zueinander finden. Am Ende bleibt die trügerische Hoffnung, der Liebe könnte Dauer beschieden sein.
„Der tolle Tag oder Die Hochzeit des Figaro“ lautet der Titel des Schauspiels von Pierre Augustin Caron de Beaumarchais, das Wolfgang Amadeus Mozart und sein Librettist Lorenzo da Ponte als Stoffgrundlage für ihre Oper wählten. Beaumarchais‘ bissiger Angriff auf feudale Willkürherrschaft wurde wegen der wachsenden Spannungen zwischen Adel und Bürgertum verboten, da Pontes gemäßigteres Libretto, dessen Handlung die Geschichte des „Barbiere di Siviglia“ fortspinnt, gab Kaiser Joseph II. jedoch zur Aufführung frei, obwohl es kaum weniger revolutionären Sprengstoff enthielt. Ihre Aktualität bezieht die Oper aus der Aufforderung, als Spiel mit dem Feuer ein Gegen- und Miteinander immer wieder neu zu wagen: Die „unerträgliche Leichtigkeit des Seins“ als Fundament eines humanen Ringens um Liebe und Anerkennung.

Deutsch

Count Almaviva does everything in his power to prevent his servant Figaro from marrying his maid Susanna. He wants to win her over for himself, especially since his feelings for Countess Rosina, who genuinely loves him, have long since cooled off. Marcellina also threatens the wedding preparations: Figaro had once promised her marriage, now she wants to assert her claims together with Doctor Bartolo and music teacher Basilio. Finally, there is the page Cherubino, who not only throws the Countess into confusion ... All sorts of confusion and intrigues have to take their course before the rightful couples find each other. In the end, there remains the deceptive hope that love could endure.
"The Mad Day or The Marriage of Figaro" is the title of the play by Pierre Augustin Caron de Beaumarchais, which Wolfgang Amadeus Mozart and his librettist Lorenzo da Ponte chose as the basis for their opera. Beaumarchais' scathing attack on feudal despotism was banned because of growing tensions between the nobility and the bourgeoisie, but da Ponte's more moderate libretto, whose plot continues the story of the 'Barbiere di Siviglia', was approved by Emperor Joseph II for performance, although it was no less revolutionary contained explosives. The opera derives its topicality from the call to dare to play against and with each other again and again as a game with fire: the “intolerable lightness of being” as the foundation of a humane struggle for love and recognition.

English

The Marriage of Figaro by Mozart, ned. 25 nov. 2012, Od (2012/2013), Režija: Peter Hailer,, Dirigent Valtteri Rauhalammi, Musiktheater im Revier, Gelsenkirchen, Germany

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