Organization

Director(a) orquestal

Jesús López-Cobos

Director(a) de escena

Emilio Sagi

Escenógrafo(a)

Daniel Bianco

Diseñador(a) de vestuario/Figurinista

Renata Schussheim

Diseñador(a) de iluminación

Eduardo Bravo

Coreógrafo(a)

Nuria Castejón

Director(a) coral

Peter Burian

Cantante

Soprano

Barbara Frittoli

La Condesa de Almaviva

Barítono

Ludovic Tézier

Conde de Almaviva

Isabel Rey

Susanna

Bajo

Luca Pisaroni

Figaro

Mezzosoprano

Marina Comparato

Cherubino

Jeannette Fischer

Marcellina

Carlos Chausson

Don Bartolo

Tenor

Raúl Giménez

Don Basilio

Enrique Viana

Don Curzio

María Soledad Cardoso

Barbarina

ABAO Bilbao Opera

Teatro Real de Madrid

Others

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

italiano

Le nozze di Figaro -  (Las Bodas de Fígaro)

Madrid

España

It is not a question of divine inspiration, the truth is Wolfgang Amadeus Mozart put considerable effort into looking for a suitable subject before composing The Marriage of Figaro. Another misconception is that this work reflects the values of the French Revolution, when in fact its underlying theme is a celebration of the “Ehepatent”, the new decree on marriage issued by Joseph II, Holy Roman Emperor, in 1783. This decree contained three principles that fascinated Mozart: marriage should be for love; the authorisation of the parents was no longer required; and there should be witnesses to the marriage, leading to the hilarious scene in the opera where Figaro is measuring a room which is scarcely big enough for the bed, when a chorus of twenty people suddenly appears, all of them witnesses. Both Mozart and Da Ponte were aware of the importance of such an edict as part of the modernisation of society, but they also knew that the human impulses are difficult to tame, so that compliance with the new law would be problematic.

 

The impossibility of human beings reaching utopia often leads to melancholy. Melancholy is present in this opera because all the characters end up losing something: the Countess - love; the Count - power; Figaro - his agility; Cherubino - his innocence; and Barbarina - her virginity. These fine threads weave a complex story and finally depict a humanity worthy of Beethoven: forgiveness is achieved due to the inner  strength of women, as in the leading women of an Almodóvar film.

Programa de mano

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