Admin

Organization

Singer

Baritone

Luca Pisaroni

The Count of Almaviva

Soprano

Genia Kühmeier

The Countess of Almaviva

Martina Janková

Susanna

Bass

Adam Plachetka

Figaro

Mezzo-soprano

Margarita Gritskova

Cherubino

Ann Murray DBE

Marcelline

Carlos Chausson

Bartolo

Tenor

Paul Schweinester

Basilio

Franz Supper

Don Curzio

Christina Gansch

Barbarina

Erik Anstine

Antonio

Conductor

Dan Ettinger

Stage director

Sven-Eric Bechtolf

Costume designer

Mark Bouman

Set designer

Alex Eales

Anett Fritsch

Chorus master

Ernst Raffelsberger

Salzburger Festspiele

Others

Konzertvereinigung Wiener Staatsopernchor

Orchestra

Wiener Philharmoniker

Italian

Le nozze di Figaro -  (The Marriage of Figaro)

Salzburg

Austria

Haus für Mozart

After the success of Mozart's Entführung aus dem Seraglio in 1782, it was the person in charge of opera in Vienna, Count Rosenberg-Orsini, who asked the composer to write "a Welsche opera". Although at that time Mozart was particularly strong in favor of the German trend, he finally took a liking to this idea. To this end, he searched intensively for a suitable libretto, but in vain for the time being, after - like him
In 1783 he wrote to his father - "easily 100 - yes probably more books" that did not correspond to his idea of ​​an "Italian opera buffa", which should be "quite comic on the whole" and must contain "2 equally good women's roles". . Mozart already had very precise ideas about the two female roles at this point in time: "One would have to be seria, the other mezzo carattere - but in terms of quality - both roles would have to be exactly the same." In Pierre Augustin Caron de Beaumarchais' La Folle Journée ou le Mariage de Figaro Mozart finally found not only such a constellation with the Countess and Susanna, but also a brilliant comedy at the height of its time, which - after years of dispute with the French censorship authorities - had sensational success at the first public performance in Paris, but was only allowed to be printed in Vienna, not on the stage. Mozart suggested the scandal-ridden comedy Lorenzo Da Ponte as an operatic subject, and this one
was finally able to convince Joseph II that in his "imitation" of the material he had "omitted and abbreviated everything that is against decency and morality". Despite all the plasticity of the characters, Beaumarchais was primarily concerned with a satire that was as sharp as it was cheeky and relentless on the dying social order of his time. On the one hand there is the fight between different hierarchies,
between count and servant. An aristocratic world still exists, but is already beginning to unravel. At the same time, a new social class is striving to emerge. As the son of a master watchmaker, Beaumarchais himself experienced rapid social advancement, he was a parvenu, a nouveau riche: the homme nouveau, who incidentally Goethe portrayed in his Clavigo – not to his great delight. In Mozart's Le nozze di Figaro, on the other hand - as in all his operas - the focus is on the common drivers of their actions. The intensity and ruthlessness with which he traces the conditions of human coexistence in Le nozze di Figaro, questions them in all variants and allows them to escalate to extremes, removes his opera far from the comedy of Beaumarchais. The abundance of possible interpretations

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