Mozart: The Marriage of Figaro

THE MARRIAGE OF FIGARO

Music by W.A. Mozart
Libretto by Lorenzo Da Ponte
April 24, 26, 30, May 2, 2014, at 8 pm
Matinée May 4 at 2:30 pm

In Italian with English Surtitles
The performance is approximately 2 hours, 50 minutes, including one intermission.

Overview

A riotous comedy with a revolutionary subtext, The Marriage of Figaro follows the Almaviva household through a single tumultuous day as Count Almaviva, his wife, his valet Figaro, and his servants spin a tangled web of love affairs, plots, and counterplots. The opera is based on the Beaumarchais play that caused an uproar in 18th century France for its subversive portrayal of uppity servants outwitting their aristocratic betters.

The opera charges along like Upstairs, Downstairs on steroids as the predatory Count tries to seduce Figaro's fiancée Susanna on her wedding day. But even as the Count receives his comeuppance, the opera becomes a poignant study of love, jealousy, and ultimate forgiveness.

Mozart's score is an absolute masterpiece, at once sunny and sublime, unrivalled for beauty, grace, and theatrical truth.

A Co-production with Calgary Opera


 

Cast and Creative Team

Watch for bios and photos, coming soon.


 

Synopsis

In the first installment of Beaumarchais' trilogy, The Barber of Seville, Count Almaviva (disguised at first as a poor student) woos Rosina and marries her under the nose of her guardian, Dr. Bartolo, who had hoped to marry her himself. The count is aided by Figaro, a barber whose profession enabled him to know exactly what was going on in every house in Seville. Among Dr. Bartolo's associates were Rosina's chaperone Marcellina (formerly the doctor's mistress), and her malicious singing teacher Don Basilio.

The Marriage of Figaro

Act One

On the morning of their wedding day Susanna (maid to Countess Almaviva) and Figaro (the Count's manservant) are in a room in the Count's castle near Seville. Susanna reveals that the Count has designs on her and Figaro determines to thwart his master's aims.

Next we meet Marcellina and Bartolo. Figaro is in debt to Marcellina and has promised to marry her if the loan is not repaid by this very day. Bartolo rejoices in the idea of forcing Figaro to marry his old housekeeper.

Meanwhile, the amorous young page Cherubino tells Susanna that he is to be sent away; the Count has caught him misbehaving with Barbarina, the gardener's daughter. Hearing the Count approaching, Cherubino hastily conceals himself. The Count enters and expresses his desire for Susanna, but they hear Don Basilio's voice; now the Count is also forced to hide. Basilio describes in detail the castle gossip about Cherubino's crush on the Countess; this infuriates the Count, who reveals his presence. During a trio, the Count reenacts his recent discovery of Cherubino's misbehavior with Barbarina – only to discover the page once more hiding in a lady's chamber. He angrily orders Cherubino off to the military, and the act ends as Figaro lightheartedly teases Cherubino about the rigours of military life.

Act Two

The Countess mourns the fading of her husband's love. Susanna and Figaro enter. A plot is hatched to distract the Count from his pursuit of Susanna: Cherubino, dressed in Susanna's clothes, will be sent to meet the Count in the garden at dusk. Figaro leaves, and Cherubino enters. He sings a love song he has written, then submits to being dressed as a girl.

Hearing a knock on the door Cherubino hides in a dressing-room; the jealous, suspicious Count enters and accuses his wife of having a lover concealed. The Countess maintains that only Susanna is there, so the Count goes to fetch tools with which to break the door down, taking his wife with him and locking the only escape route. Susanna then releases Cherubino, who escapes out of the window; she takes Cherubino's place in the dressing-room. The Count and Countess return, and Susanna demurely steps out of her hiding place; the Count, baffled (as is the Countess), can only apologize to his wife.

Figaro enters to gather everyone for the wedding, followed by Antonio the gardener, who complains noisily about flowers that were damaged by a man jumping out the window. Figaro, immediately understanding the situation, claims that he was the jumper and starts to limp as proof. Marcellina enters with Dr Bartolo and Basilio to insist that Figaro marry Marcellina as a legal promise for his unpaid debt. The act ends in confusion.

Act Three

Susanna assures the Count she is prepared to comply with his desires (with the promised dowry, she figures she can pay off Marcellina and marry Figaro). But the Count overhears her remark to Figaro that "our case is won" and is furious to think that his servant can enjoy what is not available to himself. So after a short trial he decrees (as the ruling lord) that Figaro must pay up or marry Marcellina. But he loses his two allies when it becomes clear that Figaro, a foundling, is in fact Marcellina's long-lost son; further, Bartolo is his father. The wedding, Marcellina and Bartolo decide, must now be a double one.

The plot to ensnare the Count continues, as the Countess dictates to Susanna a letter making an assignation. They seal it with a pin, to be returned in answer. A group of peasant girls, led by Barbarina and including the disguised Cherubino, come to bring flowers to the Countess. Figaro urges that the party and dancing should begin. During the festivities Susanna slips a note to the Count, who (observed by Figaro) pricks his finger while opening it.

Act Four

Barbarina, in the darkness of the garden, has lost the pin the Count asked her to give to Susanna. She confides in Figaro, who believes the worst of Susanna but hides himself as she and the Countess enter, having exchanged clothes.

Now "Susanna" (the Countess in disguise) awaits the Count, who arrives to escort her into an arbour. Seeing "the Countess" (Susanna), Figaro advises her that the Count is with Susanna; in her response, she forgets to disguise her voice, and the truth dawns on him. The two act a charade for the returning Count who is enraged to discover (as he thinks) Figaro and his wife expressing passionate love. The Count summons all and sundry to witness his wife's flagrant infidelity. All beg him to forgive her, but he is adamant – until the true Countess's voice joins the ensemble. At once he realizes what he has done, and kneels to ask her forgiveness; she cannot withhold it. All go joyfully to banqueting and fireworks.

Robert Holliston


 

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