| Mozart, Wolfgang Amadeus (1756-1791) | Les Noces de Figaro (Le nozze di Figaro) | Livret de Lorenzo Da Ponte |
| Teatro Real | |||
| Ivor Bolton | Direction | ||
| Emilio Sagi | Mise en scène | ||
| Renata Schussheim | Costumes | ||
| Daniel Bianco | Décors | ||
| Orquesta Sinfónica de Madrid | |||
| Coro Intermezzo | |||
| Sofia Soloviy | Soprano | la Comtesse Almaviva | 2014 sept. 15, 17, 19, 21, 23, 25, 27 |
| Anett Fritsch | Soprano | la Comtesse Almaviva | 2014 sept. 18, 22, 26 |
| Sylvia Schwartz | Soprano | Suzanne (Susanna) | 2014 sept. 15, 17, 19, 21, 23, 25, 27 |
| Eleonora Buratto | Soprano | Suzanne (Susanna) | 2014 sept. 18, 22, 26 |
| Elena Tsallagova | Soprano | Chérubin (Cherubino) | 2014 sept. 15, 17, 19, 21, 23, 25, 27 |
| Lena Belkina | Soprano | Chérubin (Cherubino) | 2014 sept. 18, 22, 26 |
| Luca Pisaroni | Baryton | le Comte Almaviva | 2014 sept. 15, 17, 19, 21, 23, 25, 27 |
| Andrei Bondarenko | Baryton | le Comte Almaviva | 2014 sept. 18, 22, 26 |
| Andreas Wolf | Basse | Figaro | 2014 sept. 15, 17, 19, 21, 23, 25, 27 |
| Davide Luciano | Baryton | Figaro | 2014 sept. 18, 22, 26 |
| Christophoros Stamboglis | Basse | le docteur Bartolo | |
| Khatouna Gardelia | Soprano | Barberine (Barbarina) | |
| Helene Schneiderman | Mezzo-soprano | Marceline (Marcellina) | |
| José Manuel Zapata | Ténor | Don Basilio | |
| Gerardo López | Ténor | Don Curzio |
In the first and successful collaboration between Da Ponte and Mozart, we are thrust into a labyrinth that reflects the conflicts of a period of great unrest in the eighteenth century, a prelude to new times. The adaptation of Beaumarchais’ revolutionary piece, La folle journée (1784), gave rise to a masterpiece of both drama and music, with a completely innovative language that combines dazzling arias and ensembles with a subtle psychological portrait of each person. Turning the opera buffa on its head, with humour, but also melancholy, Mozart examines love across the boundaries between master and servant, as well as the abuse and manipulation of power. In Emilio Sagi’s production, “Seville becomes one of the characters”, enveloping this furiously paced comedy in a jasmine-scented Andalusian flavour.
Production of Teatro Real, in coproduction with Asociación Bilbaína de Amigos de la Ópera, Teatro Pérez Galdós de Las Palmas de Gran Canaria and Lithuanian National Opera and Ballet Theatre.