Le nozze di Figaro

At the end of this ‘wonderful day’, however, forgiveness prevails: once again, love has triumphed, leaving everyone content: the Count and Countess, Figaro and Susanna, Bartolo and Marcellina – and even Cherubino, who had previously thrown everything into disarray.

Mozart took a particular interest in musical theatre, both opera seria and opera buffa.

The trilogy of the ‘Da Ponte operas’, written in the mid- to late 1780s to libretti by the Italian playwright, has not achieved fame without good reason. Among these, *The Marriage of Figaro*, already a hit during Mozart’s lifetime, has become the quintessential example of a ‘musical comedy’, admired by many and elevated to one of the favourites by directors, conductors, singers and, not least, the audience. Hardly any other composer has succeeded as Mozart has in allowing the subtle and most delicate emotional stirrings of his characters to be revealed through the music – in a direct, highly evocative and impressive manner.

Jürgen Flimm’s production brings Mozart’s comic masterpiece to life by giving the characters space, in a relaxed setting in the countryside near the sea, to reveal their inner worlds, articulate their desires and inclinations, and to intensify and then resolve conflicts.