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Marie Heeschen

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Louise Kemény

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Giorgos Kanaris

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Anna Princeva

The Countess of Almaviva

Barbara Senator

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Emma Sventelius

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Valentina Stadler

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Christian Georg

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Ava Gesell

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Boris Beletskiy

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Vardeni Davidian

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Jeanette Katzer

Sonja Bük

Tiina Sahiro

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Hermes Helfricht

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Aron Stiehl

Barbara Schröder

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Timo Dentler

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Okarina Peter

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Max Karbe

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bo komplex

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Marko Medved

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Tilmann Böttcher

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Beethoven Orchester Bonn

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itāļu

Le nozze di Figaro -  (The Marriage of Figaro)

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Le nozze di Figaro Mozart

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The Marriage of Figaro

vācu

Approved

After COSÌ FAN TUTTE and DON GIOVANNI, LE NOZZE DI FIGARO is the third work in the collaboration between Wolfgang Amadé Mozart and his most important librettist Lorenzo da Ponte in a new production on the Bonn Opera repertoire.

Beaumarchais, comedy DER TOLLE TAG, written in 1778, was still banned for performances on Viennese stages in the German translation by Johann Rautenstrauch from 1785 - it is all the more astonishing that Lorenzo da Ponte, in direct contact with Emperor Joseph II, obtained the approval received to set it up as a libretto for the opera stage of the imperial court theatre. Even the intrigues of fellow librettist Giambattista Casti were unable to reverse this decision of the highest court: On May 1, 1786, Mozart's FIGARO was released at the Burgtheater and laid the foundation for a collaboration between two artists of this rank that is almost unrivaled in the history of opera.

The renunciation of accessories and tendrils, which may still have their meaning in the comedy, the concentration on the essential and generally comprehensible storylines help the play to its unique rank. From today's point of view, however, it is still interesting that the authors managed to leave the politically explosive power of the material almost untouched.

After COSÍ FAN TUTTE and DON GIOVANNI, this new production of LE NOZZE DI FIGARO is the third example of the collaboration between Wolfgang Amadé Mozart and his most eminent librettist, Lorenzo da Ponte, in Oper Bonn’s repertoire.

Beaumarchais’ comedy THE MAD DAY, or THE MARRIAGE OF FIGARO, written in 1778, had been banned for performances in Vienna in its 1785 German translation by Johann Rautenstrauch. It is all the more surprising that Lorenzo da Ponte received permission directly from Emperor Joseph II to adapt it into a libretto for the opera stage of the imperial court theatre. Even the machinations by fellow librettist Giambattista Casti were unable to reverse this decision from the highest authority: On 1 May 1786, Mozart’s FIGARO premiered at the Burgtheater, laying the foundations for an almost peerless collaboration between two artists of this rank.

The authors eschewed trappings and ornamentation that may have had significance for the comedy, concentrating on its essential and generally relatable plotlines which helped the work to achieve its unique standing. From a contemporary perspective, it is still interesting to see how the creators managed to leave the politically explosive force of the material largely unaltered.

English

The Marriage of Figaro by Mozart, No (2019/2019), Režisēja Aron Stiehl, Barbara Schröder,, Diriģents Hermes Helfricht, Opernhaus, Bonn, Germany

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