Mozart’s excellent comic opera of intrigue, forgiveness and misconception go back to the Royal Opera Home. Sign up for our channel and discover more at
Revival director Thomas Guthrie, cast Christian Gerhaher (Figaro) Joélle Harvey (Susanna), Simon Keenlyside (Count Almaviva), Julia Kleiter (Countess Almaviva), Kangmin Justin Kim (Cherubino) and conductor John Eliot Gardiner share their experience of carrying out and practicing in The Marriage of Figaro.
Le nozze di Figaro (The Marriage of Figaro) was Mozart’s very first partnership with Lorenzo da Ponte, who likewise composed the librettos for Don Giovanni and Così fan tutte. The opera is based upon Pierre Caron de Beaumarchais’ questionable play Le Mariage de Figaro. This play was prohibited in Vienna due to its possibly seditious material, and Da Ponte needed to excise much of its political material in order to get the opera accepted for efficiency. Figaro was a success in Vienna, and much more so in Prague, where Mozart reported ‘absolutely nothing however Figaro!’ was heard. It has actually stayed among the author’s best-loved works.
Ball game of Le nozze di Figaro is jam-packed loaded with fantastic arias covering a big series of feelings, from the humour of Figaro’s paradoxical goodbye to Cherubino (‘Non più andrai’) to the poignancy of ‘Dove sono’, as the Countess keeps in mind previous joy. The opera likewise consists of exceptional ensembles, such as the closing scene of Act II, in which Figaro’s strategies decipher at breakneck speed. As so frequently with Mozart, forgiveness is an essential style, and the Count’s Act IV plea to his partner, ‘Contessa, perdono’, is among opera’s most moving minutes. David McVicar sets the action in a château in 1830 on the eve of France’s 2nd transformation, checking out the political and class disputes at the core of Beaumarchais’ play, however likewise preserving Mozart and Da Ponte’s mankind and wit.