Organization

Director(a) orquestal

Piotr Sułkowski

Director(a) de escena

Grzegorz Chrapkiewicz

Escenógrafo(a)

Wojciech Stefaniak

Diseñador(a) de vestuario/Figurinista

Katarzyna Szczurowska

Anna Skupień

Coreógrafo(a)

Jarosław Staniek

Diseñador(a) de iluminación

Piotr Pawlik

Assistant Conductor

Kuba Wnuk

Assistant choreographer

Katarzyna Zielonka

Cantante

Bajo

Jan Żądło

Figaro

Barítono

Łukasz Motkowicz

Conde de Almaviva

Soprano

Bożena Bujnicka

La Condesa de Almaviva

Mezzosoprano

Michał Sławecki

Cherubino

Anna Bernacka

Marcellina

Tenor

Aleksander Kunach

Don Basilio

Maciej Miecznikowski

Antonio

Paulina Tuzińska

Barbarina

Jacek Ornafa

Don Curzio

Artur Janda

Aleksandra Orlowska

Susanna

Hubert Zapiór

Karina Skrzeszewska

Jan Jakub Monowid

Elzbieta Wroblewska

Anna Górska

Maria Domżał

Dariusz Machej

Don Bartolo

Warszawska Opera Kameralna

Orchestra

Musicae Antiquae Collegium Varsoviense

italiano

Le nozze di Figaro -  (Las Bodas de Fígaro)

Varsovia

Polonia

Le nozze di Figaro

Public

Las Bodas de Fígaro

polaco

Válido

The Marriage of Figaro is one of the most brilliant operas in the history of the world. The opera was created in 1786 to a libretto by Lorenzo da Ponte, based on the famous play by Pierre Beaumarchais of the same title. Art that criticized the social relations of the feudal world was forbidden in many countries. Mozart, taking up this subject, also risked a lot, although da Ponte made sure that all social or political issues present in the original play were omitted. With the consent of the Emperor, the premiere took place in the court theatre on 1st May 1786. The work was well received, although further formal restrictions were imposed on it.

In this piece, Mozart climbed to the very top of absolute creativity. The social meaning of the Beaumarchais’ comedy received a dimension of social psychology through Mozart’s music. Each character of Mozart’s opera speaks its own musical language, tells its own story. Mozart does this through 18th-century opera conventions, and at the same time gives individual characters individual musical traits. Thus, the characteristics of the bold Figaro, the brutal Count, the resolute Susanna or the tormented Countess are different. Arias, duets, ensembles, great collective scenes, the finals of the acts lasting many minutes, become not only a musical image of the stage action, but through the individualism of the characters, they present a real life to the viewer’s eyes.

Grzegorz Chrapkiewicz’s staging gave this genius opera a purely human dimension. The director plays with the characters and at the same time reveals human weaknesses, including emptiness and lust. He soothes the sharp features of the characters with humour and metaphor, enlivening the action with gesture and pantomime. The veiled eroticism of the work and the psychological outlining of individual human types give this realization the features of outstanding, albeit funny art. Mozart’s music gives the whole a flow and boosts the action of the work. The new version of The Marriage of Figaro at the Warsaw Chamber Opera will not leave the viewer indifferent, but will engage the audience emotionally, drawing them into its specific, not entirely merry world.

English

Las Bodas de Fígaro by Mozart, De (2023/2023), Dirigido por Grzegorz Chrapkiewicz,, Director Piotr Sułkowski, Warszawska Opera Kameralna, Varsovia, Polonia

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