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PROGRAMME DETAIL

Wolfgang A. Mozart • Le nozze di Figaro

Comedia per musica in four acts K. 492
by Wolfgang Amadeus Mozart (1756-1791)
Text by Lorenzo Da Ponte (1749-1838) after Pierre-Augustin Caron de Beaumarchais' play La Folle Journée, ou Le Mariage de Figaro (1778)

Renewal
In Italian with German and English surtitles

Duration of the performance: approx. 3 hours

PREMIERE

  • 12 August 2009, 19:00

DATE

  • 16 August 2009, 18:00
  • 19 August 2009, 18:00
  • 22 August 2009, 15:00
  • 24 August 2009, 18:00
  • 29 August 2009, 18:00

Print programme (PDF)

CREATIVE TEAM

Daniel Harding, Conductor
Claus Guth, Stage Director
Christian Schmidt, Set and Costume Design
Olaf Winter, Lighting
Ronny Dietrich, Dramaturgy
Ramses Sigl, Choreography
Thomas Lang, Chorus Master

CAST

Gerald Finley, Il Conte Almaviva
Dorothea Röschmann, La Contessa Almaviva
Marlis Petersen, Susanna
Luca Pisaroni, Figaro
Katija Dragojevic, Cherubino
Franz-Josef Selig, Bartolo
Marie McLaughlin, Marcellina
Patrick Henckens, Basilio
Oliver Ringelhahn, Don Curzio
Adam Plachetka, Antonio
Eva Liebau, Barbarina
Uli Kirsch, Cherubim
Vienna Philharmonic
Concert Association of the Vienna State Opera Chorus

ABOUT THE PRODUCTION

With Le nozze di Figaro Mozart created a world theatre of human passions that testifies to the elemental force of eroticism. All forms of love and desire are found in this opera, and the four generations of characters – presented in exemplary fashion – are completely torn between morality, desire and impulse. In Figaro Mozart not only allows all kinds of intense human passions but also portrays how they can get out of control and escalate to extremes, thus setting his opera far apart from the comedy by Beaumarchais. That was why I wanted on the one hand to follow the characters into their darkest psychological depths but at the same time leave space for exploring the Utopian moments in Mozart’s music, which for me are so special in the score of Figaro. An invented character, a kind of Eros-Angel, indicates this confusing other dimension that pervades the opera. He always takes up a position when the characters find themselves in situations that are diametrically opposed to their intentions when guided by reason.

Claus Guth



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