Le nozze di Figaro
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5* in the Financial Times, Daily Express, Daily Mail and Music OMH
Michael Grandage’s production of Mozart’s Le nozze di Figaro returns, with a new cast of singers and conductor Jérémie Rhorer making his UK operatic debut. The opera has particular significance as it was the first opera ever to be performed at Glyndebourne in 1934, with founder John Christie’s wife and co-founder Audrey Mildmay in the role of Susanna.
‘This is a Figaro of rare grace, naturalness and charm’, said The Daily Telegraph, and for The Sunday Times it was a production that ‘affirms Mozart’s most beloved masterpiece as both of its time and perennially modern, Grandage oiling the comic mechanisms of Lorenzo Da Ponte’s libretto with a master technician’s hands.’
Mozart’s music is both exquisitely beautiful and painfully perceptive in the depths of its characterisation. The vulnerability of the Countess is laid bare, as is the predicament of Figaro and Susanna, forced to rely on their wits in a household where they are members of staff, in thrall to a master with no moral compass and low levels of boredom.
During the course of one mad day, tables are turned and expectations dashed; disguises are either penetrated or turn out to be disconcertingly successful; the plots of Bartolo and Marcellina are frustrated, the marriage of Figaro and Susanna is off again, on again, and ultimately, the Count is thwarted and humbled by the Countess’s forgiveness.
Listen to our Le nozze di Figaro podcast
Le nozze di Figaro (recorded live in 2012) will be in cinemas and online from 8 July 2013, venues and booking details are available on the 'In Cinemas' tab.
Reviews
"The evening is a complete delight."
Rated 5* by the Financial Times
"...a fun, feelgood evening with enormous flair — or should that be flares?"
Rated 5* by the Daily Mail
“The singing is excellent, the playing of the London Philharmonic Orchestra is crisp and delightful, but above all, Michael Grandage's production brings out the humour in the opera magnificently.”
Rated 5* by the Daily Express.
"...beautifully sung and acted"
Rated 4* by The Guardian
“…the stage is dominated by vibrant young singers at the start of what promise to be great careers”
Rated 5* by Music OMH
A revival of the 2012 Festival production Co-production with Houston Grand Opera and the Metropolitan Opera
Sung in Italian with English supertitles
Supported by a Syndicate of individuals
Dates & Times - Le nozze di Figaro
| Date | Coach Departs | Start Time | Interval | Finish Time | Ticket Price Ranges | |
|---|---|---|---|---|---|---|
| Wednesday 19 June 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £45.00 - £205.00 | Book Now |
| Friday 21 June 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £45.00 - £205.00 | Book Now |
| Tuesday 25 June 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £100.00 - £205.00 | Book Now |
| Sunday 30 June 2013 | 2:00pm | 3:55pm | 5:45 - 7:05pm | 8:30pm | £150.00 - £200.00 | Book Now |
| Tuesday 2 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £0.00 - £205.00 | Book Now |
| Saturday 6 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £60.00 - £200.00 | Book Now |
| Wednesday 10 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £100.00 - £205.00 | Book Now |
| Saturday 13 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £60.00 - £250.00 | Book Now |
| Wednesday 17 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £45.00 - £205.00 | Book Now |
| Saturday 20 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £150.00 - £250.00 | Book Now |
| Friday 26 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £205.00 | Book Now |
| Sunday 28 July 2013 | 2:00pm | 3:55pm | 5:45 - 7:05pm | 8:30pm | £150.00 - £250.00 | Book Now |
| Wednesday 31 July 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £150.00 - £250.00 | Book Now |
| Friday 2 August 2013 | 3:00pm | 5:10pm | 7:00 - 8:20pm | 9:45pm | £150.00 - £250.00 | Book Now |
Le nozze di Figaro
Wolfgang Amadeus Mozart
If you are a cinema venue and are interested in screening our productions please contact screenings@glyndebourne.com
Cast and Creative Team from the 2012 Festival production
Conductor Robin Ticciati
Director Michael Grandage
Designer Christopher Oram
Lighting Designer Paule Constable
Movement Director Ben Wright
Orchestra of the Age of Enlightenment
Cast includes
Figaro Vito Priante
Susanna Lydia Teuscher
Countess Sally Matthews
Count Audun Iversen
Bartolo Andrew Shore
Marcellina Ann Murray
Cherubino Isabel Leonard
Don Basilio Alan Oke
Antonio Nicholas Folwell
Don Curzio Colin Judson
Barbarina Sarah Shafer
Le nozze di Figaro will be streamed online from lunchtime on 12 July 2013
Full details will be posted here soon. Follow us on Twitter for the latests news #Figaro.
Cast and Creative Team from the 2012 Festival production
Conductor Robin Ticciati
Director Michael Grandage
Designer Christopher Oram
Lighting Designer Paule Constable
Movement Director Ben Wright
Orchestra of the Age of Enlightenment
Cast includes
Figaro Vito Priante
Susanna Lydia Teuscher
Countess Sally Matthews
Count Audun Iversen
Bartolo Andrew Shore
Marcellina Ann Murray
Cherubino Isabel Leonard
Don Basilio Alan Oke
Antonio Nicholas Folwell
Don Curzio Colin Judson
Barbarina Sarah Shafer
Act I
Susanna tries on a wedding bonnet, whilst her fiancé Figaro measures the room in the castle given them by the Count. She points out its dangerous proximity to the Count, reminding Figaro of the droit de seigneur, the ancient feudal right of masters to dally with their maiden servants. Figaro vows to thwart him.
Figaro’s old enemy Bartolo and Bartolo’s former servant Marcellina enter with a marriage contract between Marcellina and Figaro, which they intend to enforce.
The page Cherubino enters, protesting being sent away to the army because the Count found him dallying with the gardener’s daughter Barbarina. When the Count approaches, he hides.
The Count romances Susanna. Her singing teacher Basilio arrives, forcing the Count to hide. When the Count comes out of hiding, he discovers the hidden Cherubino.
Figaro arrives with a group of peasants praising the Count for abolishing the droit de seigneur. The Count sends Cherubino off to join his regiment.
Act II
The Countess laments her husband’s neglect. Susanna tells her of the Count’s designs upon her, and of Figaro’s plan to send a cross-dressed Cherubino to meet the Count instead of her. Cherubino arrives to prepare for his ‘tryst’ with the Count, but the Count’s arrival forces him to hide in the closet. Susanna returns unobserved and hides.
The Count, told that Susanna is hiding in the closet, demands that she emerge. He goes to fetch tools to open the door, taking the Countess with him. Susanna releases Cherubino, who escapes through the window while she enters the closet. Returning with her husband, the Countess confesses that Cherubino is inside. Both are nonplussed when Susanna emerges.
Figaro arrives. The gardener Antonio enters complaining about someone jumping from the window; Figaro claims it was him. The Count is relieved when Bartolo, Marcellina and Basilio enter demanding that Figaro marry Marcellina or repay his debt.
Interval
Act III
The Count pursues Susanna. She agrees to a rendezvous, but the Count then overhears her plotting with Figaro.
Alone, the Countess ponders her unhappy marriage. Meanwhile the court case on Marcellina’s marriage contract has been resolved in her favour. Figaro confesses that he was born into a respectable family and requires his parents’ consent. In his description of his history, Marcellina recognises Figaro as her long-lost son; Bartolo is his father.
Susanna and the Countess write to the Count inviting him to the rendezvous; a pin must be returned as acknowledgement. A group of peasant girls arrive offering flowers to the Countess, with the disguised Cherubino among them. Barbarina forces the Count to agree to let her marry Cherubino. The wedding celebrations begin. Susanna passes the letter to the Count.
Act IV
That night in the garden, Barbarina laments losing the pin she was to return to Susanna. Figaro resolves to interrupt the tryst between Susanna and the Count. Marcellina goes to forewarn Susanna.
Barbarina hides, as do Figaro, Bartolo and Basilio. Disguised in each other’s clothes, Susanna and the Countess enter to ensnare the Count.
Cherubino arrives seeking Barbarina, but sees (as he thinks) Susanna, and flirts with her. The Count takes Cherubino’s place wooing ‘Susanna’. Figaro, seeing through Susanna’s disguise, feigns seducing ‘the Countess’, and is caught by the Count, who refuses to forgive his wife for her apparent infidelity. The truth is revealed and all is set right.
Synopsis by George Hall
Creative team
Conductor Jérémie Rhorer
Director Michael Grandage
Revival Director Ian Rutherford
Designer Christopher Oram
Lighting Designer Paule Constable
Movement Director Ben Wright
Cast
Figaro Adam Plachetka
Susanna Laura Tatulescu
Countess Amanda Majeski
Count Joshua Hopkins
Bartolo Luciano Di Pasquale
Marcellina Anne Mason
Cherubino Lydia Teuscher
Don Basilio Timothy Robinson
Antonio Nicholas Folwell
Don Curzio Alasdair Elliott
Barbarina Sara Lian Owen
First Bridesmaid Charlotte Beament
Second Bridesmaid Annie Fredriksson
Extracts from Le nozze di Figaro Glyndebourne CD 1962 recording. Available from our shop.
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Comments
A fabulous production. The orchestra were superb and the cast were engaging. Cherubino was in particularly good voice. This was a wonderful evening.
Acting was superb, scenery was excellent, or orchestra and singers were very good.
Overall, it was a most enjoyful experience. We were delighted to see such a good performance of Le Nozze di Figaro.
We surely come again!
I have seen The Marriage of Figaro many times and some productions have sought to emphasize the farcical possibilities in the story, others to play them down. As always, I feel that if you are going to set the story in a modern era, it makes no sense at all to have an eighteenth century narrative with "Rights of the First Night" for example. That said, I thought that the singing, especially ensemble singing, was beautiful: as was the performance of the orchestra. Many thanks for a splendid evening.
P.S. When are you going to produce Gounod's Faust?
Yours sincerely,
Peter J Holloway
My wife and I thoroughly enjoyed the performance and the whole atmosphere going with it. It was the highlight of our stay in England. Luckily the weathewr was fine.
An absolute delight. The sets, costumes and casting were inspired. Susannah on 14th June gave a truly magical performance. The dancing was great and very expressive. A memorable performance.
Fantastic production! Beautiful music , orchestra superb, divine singing blended perfectly and great comedy acting as well. A delight and escape from the working week!
My first Figaro this season and I should like to endorse the view stated earlier that this is a massive improvement on the original run. I was delighted to catch Annie Fredriksson standing in as Cherubino. I have heard her at the Britten Theatre at the RCM and was most impressed then. I loved the way the Countess' final coup de grace was delivered in tempo. Typical of a very well thought through performance. Certainly worth waiting for.
I just want to say that I've been coming to Glyndebourne for about 30 years, but no evening has been happier or more enjoyable than the night I spent at Figaro with a bunch of dear friends on Saturday.
Of course it helped that the weather was so good, and Figaro with you is never going to fail to give pleasure. It's my favourite work of art in the whole world, and I love Glyndebourne more than anywhere. But my expectations were not actually all that high, and I certainly did not expect the ravishing evening it turned out to be.
Not all that high, because I came to Figaro last year too, and perhaps was unlucky in the evening I caught. That night, none of the four principals among the two main couples generated much electricity, and there wasn't much fizz coming out of the pit either. Of course we had an enjoyable evening, but it was the least uplifting of about eight Figaros I'd seen at Glyndebourne and I rather expected a repeat. The more so as none of the three singers whom I remembered as elevating that evening - Isabel Leonard, Ann Murray and Andrew Shore - were on parade this year.
I'd been privileged to hear, in my view, the very finest singers in the world today in La Donna del Lago on Friday and, dare I say it , I thought that Saturday might be a bit of any anti-climax after that. How wrong I was.
First, you had kindly allocated me just about the best value seats in the house, where we were close to the stage and could see every flicker of any eyelid. I'll come back to those seats in a minute.
The performance was almost unrecognisable from the one I attended last year. All the principals had a sparkle that was missing last year, and some people whom I had never seen, and in some cases even heard of, were quite magnificent. Lara Tatulescu at times reminded me of Ileana Cotrubas as Susanna - high praise indeed, as she was incomparably the finest Susanna I've ever seen. Adam Plateschka and Amanda Majeski were scarcely less good and, although I would not portray the Count as Michael Grandage does, Joshua Hopkins was excellent too. Lydia Teuscher was as lively and charming a Cherubino as, on my night, she has been wooden a Susanna last year. And the orchestra played like a dream under a conductor who gave the whole thing a pace, a wit and a sparkle that was singularly missing on the night I went to last year.
Acts I and II served notice that this was a quite different different evening to what I had been expecting, but Acts III and IV were even better. Indeed I think that was the best Act III I've ever seen - in at least 30 performances - including Peter Hall's definitive production in the old theatre. The "sua madre, sua padre" scene in particular was utter perfection and had an insight that I'd never previously seen. Act IV also had pace, sensitivity and meaning - I had tears in my eyes at "Piu docile io sono" and "Ah tutti contenti" that even Joyce's astoundingly wonderful, now world-famous, "Tanti affetti" had not produced the night before. I've been proverbially flying today.
As it happened, I had broadly comparable seats at the ROH on Friday to the ones you so kindly gave me on Saturday - the best value seats in the house, around the side and a level up. From those seats at the ROH one could only see about 75-80% of the stage, not 99% as with you. The chairs were nothing like as comfortable at the ROH, and at times one had to lean a long way forward and turn one's head to see the stage. Not with you! The whole theatre is so well designed and so well laid out that one sees everything in great comfort.
And, as it also happened, I sat next to a most amiable and passionate Indian gentleman at the ROH; and we found ourselves agreeing to agree that Glyndebourne's staff are infinitely more personal, more responsive, more willing to go the extra mile to help, more efficient, and just a joy to deal with, as they are not usually at the ROH, even as a Friend of the place, or for that matter at any large international opera house I've dealt with anywhere in the world.
So thank you, Glyndebourne. You are a shining adornment to the world of opera, and one of the reasons to be most grateful for, and most proud of, being English!
On behalf of Richard Cumming-Bruce
Very good: reminiscent of the last production that we saw of Fig. However,when there is enthusiasm for original instruments (Falstaff) one wonders if the lack of enthusiasm for original dress may not be due to expense. Opera is a spectacle as well as a drama. I was pleased when I attended Colin Davis conducting the Chelsea Opera Group in a concert performance of Don Giovanni at the Town Hall, Oxford (1957?), which brought the qualities of Sir Colin to public attention, as that was what it was supposed to be. I still hope to see the wonderful eighteenth century apparel that really fits the operatic scene for Fig ... incidentally I find the operas of Mozart so much more appealing than those of other composers that I shall choose to attend Mozart whatever the outlandish setting that might be chosen. Our daughter-in-law and son enjoyed the evening almost beyond measure. Thank you all.
This was a splendid production. The set, costumes, orchestra and singing were all outstanding. I have attended Glyndebourne for 45 years and this was one of the most memorable visits. I brought guests from New Zealand and they are taking some very special memories home. Thank you.
Brilliant - wonderfully played and sung and the last act very funny
My first Figaro was at Glyndebourne - and it was magical, an evening of physical and aural delight,something out of this world. As Mozart gives his characters music far beyond their deserts, for the folle journee has tawdry undertones, so Oliver Messel dressed them to match the beauty of the score. That experience has remained happily with me for over half a century and it was a splendid way to start an association with this wonderful opera.
That production was a vision, but there were drawbacks. As there were no subtitles the Italian text was naturally lost on me, and of course almost everyone else, and nobody could keep the intricate plot in one's head from a reading of the programme notes, particularly the last act. Visually, the production was a joy, but it was not very profound. This was an essentially musical evening.
And there other causes for disquiet. The world was changing, rapidly, and Glyndebourne was always under attack from those who thought it effete and elitist. The English Stage Company had opened three years earlier at the Royal Court and its progenitor, George Devine, said, publicly, something like: "At Glyndebourne go to admire the scenery, but after a show at the Royal Court they sit up all night discussing the production." If Glyndebourne was to survive that criticism had to be answered, as it should and indeed could be, for Mozart's operas are psychologically profound.
And after a while, answered that criticism has been, for now you give us productions that do indeed set us thinking and talking.
Your latest production of this opera has merits of a completely different kind from the first one I remember. This is the cleverest and most lucid Figaro I have ever seen. Never, in my experience, has the story been better told or the characters, individually and as a whole, appeared more credible.
I confess I was originally not sure if setting the opera in the early Sixties was a good idea. Some things, such as the droit de seigneur and the Count's private regiment, are rooted in the eighteenth century.
No matter. It achieved the purpose of showing us plainly, as Beaumarchais intended, that the Count is living in a fool's paradise, that inherited wealth can no longer command obedience, that the respect accorded him is largely fictitious. By that token the Almavivas must yield centre stage to Figaro and Susanna, and rightly, for it is his marriage that is at the centre of the opera and if he appears to be taking over from his master that it also quite fair, because if we turn to the third play in Beaumarchais' trilogy we shall find him saving his former employers from swindlers and creditors.
On the other hand, the director made sure that the comic scenes, the disguises, concealments and so forth, were uproariously funny.
Musically the production was excellent from start to finish; I particularly liked Susanna and Cherubino. The superb acoustics of the new auditorium give the performers a great advantage; they can always make themselves easily heard, which makes for better performances.
This was a wonderful evening, for me - and my guests.
Excellent
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