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Le nozze di Figaro

Le nozze di Figaro

Le nozze di Figaro  Royal Opera House  13-02-2006
Wolfgang Amadeus Mozart
Royal Opera House
Le nozze di Figaro  Teatro Carlo Felice di Genova  14-03-2014
Wolfgang Amadeus Mozart
Teatro Carlo Felice di Genova
Le nozze di Figaro  Opéra Royal de Wallonie-Liège  21-10-2011
Wolfgang Amadeus Mozart
Opéra Royal de Wallonie-Liège

Le Nozze has always inspired all the greatest personalities of theatre. From the Eighteenth Century to the Fifties, passing through Strehler's revolution in the Seventies - which turned restricted characters into pulsating ones - to reach Claus Guth's psychological interpretation, which changed Mozart's work in an almost tragical opera. Since its debut, Le Nozze di Figaro has received an amazing success, despite having to deal with the censorship by Leopoldo II, due to its revolutionary power. It might be because all of us recognize ourselves in a dance of feelings where we are all accomplices. That's how Beaumarchais-Da Ponte's comedy of human beings becomes universal, just as a typical masterpiece.

Synopsis Le nozze di Figaro

We are at Count Almaviva’s country villa near Seville, late 18th century. The servants Figaro and Susanna are preparing for their wedding. The bride tells Figaro that the count has tried to seduce her and he vows to take revenge. Dr. Bartolo appears with Marcellina, to whom Figaro promised to get married in exchange for a loan. When she runs into Susanna, the two women insult each other. When the page Cherubino enters the room and finds Susanna alone, he explains to her that he is in love with all women. He hides when the count shows up. The count again pursues Susanna, but conceals himself when the music master, Basilio, approaches. When Basilio tells Susanna that Cherubino has a crush on the countess, the count steps forward and becomes further enraged when he discovers the page in the room. Figaro returns with a group of peasants who praise the count for renouncing the traditional feudal right of a nobleman to take the place of a manservant on his wedding night and the count is puzzled.

The countess laments that her husband no longer loves her. Encouraged by Figaro and Susanna, she agrees to set a trap for him: they will send Cherubino dressed as Susanna to meet the Count. Susanna begins to dress him in girls’ clothes. When she goes out of the room, the Count arrives and Cherubino locks himself in the closet. The countess says Susanna is in the closet but the count leaves to get tools to force the door. Meanwhile, Susanna helps Cherubino escape through the window before taking his place in the closet. When the count and countess return, both are stunned to find Susanna. The gardener Antonio appears, complaining that someone has jumped from the window but Figaro claims it was him. All ends in confusion.

During the celebrations, the Count takes the opportunity to renew his proposal to Susanna who appears to agree, he grows doubtful when he overhears her telling Figaro that they have won their case, Marcellina's contract has been resolved in her favour but to everyone's surprise, Figaro turns out to be her son, stolen as a baby and Bartolo is his father. The family is reunited and Susanna and Marcellina reconciled. Susanna and the countess continue their conspiracy against the count and compose a letter to him confirming the rendezvous with Susanna that evening in the garden.

In the garden, Barbarina tells Figaro and Marcellina about the planned rendezvous between the count and Susanna. Susanna conceals herself in time to see Cherubino declare his love to the disguised countess—until the count chases him away to be alone with who he thinks is Susanna. Figaro understands what is going on and, joining in the fun, pretends to be courting Susanna in her countess disguise. The count returns, finding Figaro with his wife, or so he thinks. Outraged, he calls everyone to witness his verdict. At that moment, the real countess reveals her identity. Realizing the truth, the count asks for his wife’s forgiveness. The couples are reunited, and so ends in confusion again.

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