Name: Le nozze di Figaro
Start: 2015-04-11T00:00:00.000Z
End: 2015-04-22T00:00:00.000Z
Location: Theater an der Wien

Admin

Organization

Baryton

Stéphane Degout

Le Comte Almaviva

Soprano

Anett Fritsch

La Comtesse Almaviva

Emőke Baráth

Susanna

Basse

Alex Esposito

Figaro

Mezzo-soprano

Ingeborg Gillebo

Cherubino

Peter Kálmán

Bartolo

Ténor

Sunnyboy Dladla

Don Curzio

Don Basilio

Gan-ya Ben-gur Akselrod

Barbarina

Helene Schneiderman

Marcellina

Zoltán Nagy

Antonio

Direction d'orchestre

Marc Minkowski

Mise en scène

Felix Breisach

Costumes

Doris Maria Aigner

Décors

Jens Kilian

Libretto

Lorenzo da Ponte

Lumières

Alessandro Carletti

Dramaturgie

Konrad Kuhn

MusikTheater an der Wien

Orchestra

Les Musiciens du Louvre

italien

Le nozze di Figaro -  (Les Noces de Figaro)

Vienne

Autriche

Theater an der Wien

Les Noces de Figaro

allemand

Valide

Mozart knew Paisiello's barberswell, the opera had been shown very successfully in Vienna in 1783, and the two composers had met the following year. When the second piece about this bustling barber came out in Paris, with great success and scandal, the idea of ​​emulating Paisiello's success on the basis of the new Beaumarchais piece was obvious. Mozart and Da Ponte, however, had to considerably defuse the politically explosive proposal in order to be able to get permission to perform their opera project at the Vienna Court Opera. In the libretto, Da Ponte mainly worked out the difficult emotional relationships between the characters and thus provided Mozart's compositional art with a congenial model: his music deepens the characters to an extent that

A few years have passed since the events in Seville surrounding Rosina's marriage to the Count, and the love between the Count's couple has now cooled somewhat. The count is looking for new objects worthy of his favor, and the countess is adored by the young page Cherubino. Figaro has remained in the Count's service and now wants to marry Susanna, the Countess' maid. In the 18th century the nobles had the “ius primae noctis”, the right of the first night: the master was entitled to deflower the bride of a subject before the bridegroom. Count Almaviva wants to show himself to be enlightened around 1780 and abolishes this right on his possessions. But in view of the pretty Susanna, he regrets his progressiveness. Because now he can no longer insist on his rights, he has to use seduction and cunning, to get Susanna in his clutches. But Figaro and Susanna maintain their new erotic autonomy as a married couple, they successfully parry cunning with counter-cunning and the count finds an equal opponent in his servant.

English

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble