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

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Organization

Baritone

Stéphane Degout

The Count of Almaviva

Soprano

Anett Fritsch

The Countess of Almaviva

Emőke Baráth

Susanna

Bass

Alex Esposito

Figaro

Mezzo-soprano

Ingeborg Gillebo

Cherubino

Peter Kálmán

Bartolo

Tenor

Sunnyboy Dladla

Don Curzio

Basilio

Gan-ya Ben-gur Akselrod

Barbarina

Helene Schneiderman

Marcelline

Zoltán Nagy

Antonio

Conductor

Marc Minkowski

Stage director

Felix Breisach

Costume designer

Doris Maria Aigner

Set designer

Jens Kilian

Libretto

Lorenzo Da Ponte

Lighting designer

Alessandro Carletti

Dramaturge

Konrad Kuhn

MusikTheater an der Wien

Orchestra

Les Musiciens du Louvre

olasz

Le nozze di Figaro -  (The Marriage of Figaro)

Vienna

Austria

Theater an der Wien

The Marriage of Figaro

német

Approved

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.

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