Le nozze di Figaro: From page to stage

With unique behind the scenes access to Michael Grandage's newest production of Le nozze di Figaro for the 2012 Glyndebourne Festival, this film follows the creation of award-winning designer Christopher Oram's Moorish inspired set from the page to the Glyndebourne stage.


A stunning performance! We were absolutely enthralled by the quality of the singing, the fabulous set, and overall excellence. We were there on the last night and everyone gave their all. Bravo.

Thoroughly enjoyed the production, though not approaching the Top 5 like 'Billy Budd'. Conductor & orchestra flawless, performances excellent (particularly Cherubino) & the design delightful. I didn't mind the 70's update in itself. It kept it fresh. So relieved Mr. G. was not afraid of the SitCom of the piece (unlike the last version I saw recently) but the character of the Count is pivotal & it just doesn't work if he has NO gravitas. How could you take seriously a man with such a dreadful wig?! Was it a wig?! I cannot believe the costume department would supply such a thing. If I'd been the Countess I'd have been jolly relieved if he looked for pastures new & I'm sure Auden Iversen was not responsible.

A wonderful evening with weather to match. The Moorish sets were outstanding and conveyed the atmosphere of a household where men ruled and women got their way via manipulation. Cherubino was utterly believable (reminded me of Tom Daley)and all the minor characters well acted and sung, particularly Ann Murray; I was hoping she would sing her aria in Act IV which always seems to be omitted.

On arrival with our picnic we were at first put out to see that the 'room by the lake' had been made into a patio, but it worked well and we finished our coffee after the performance while the car park emptied.

We thought the production was witty, intelligent although inclined to excessive slapstick in some scenes. The scenery and lighting were very appropriate, attractive, evocative and skilfully done. The opera was staged in a curious but engaging quasi-modern period, complete with an Austin Healey 3000, which was a refreshing departure from strictly modern or strictly traditional. The singing was again, excellent with outstanding performances from Vito Priante and Sally Matthews. Robin Ticciati conducted the performance with skill and imagination - and the orchestra was as Mozart would have wished. The left-of-centre bias to the location of the performers on stage was to the detriment of those seated higher and to the left of the auditorium. The supra-titles were incomplete in some passages.
Of course, a great evening. Thank you Glyndebourne.

Musically wonderful, sets absolutely sensational. What a pity that the period chosen was so inappropriate. The pseudo-70s costumes, and the twisting dancers were very unfortunate, and let down the great set. The bravery of Beaumarchais and Mozart in challenging the socio-political situation of their time was completely missed, and the Count, although he sang superbly, was stripped of any of his necessary authority by his absurd costume. Although the Countess sang Porgi Amor and Dove Sono sublimely, the poignancy of her situation never had a chance to register, let alone affect one.
Cherubino - terrific! That girl will go far.

My wife and I thoroughly enjoyed this production. The combination of sensible updating and Mozart's music worked extremely well and the set was very good. Musically the singing was excellent and we particularly commend the orchestra and the conductor. The music next year is in good hands. Thank you to everyone involved.
Michael & Ursula Moore.

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