Upstairs, downstairs, inside, outside, dress-ups and dressing downs, all in a day’s work.
Mozart’s classic comedy has been entertaining crowds for centuries, and between the witty, fast-moving libretto and the melodic, charming writing, it’s not hard to understand why.
Musically, this is the ultimate ensemble opera, with brilliant trios, quartets and even a fantastic sextet. Dramatically, it’s the opera with everything: lovers and liaisons, disguises and tricks, lust and laughter.
The Countess loves the Count, but he’s got designs on his pretty, witty servant Susanna. But it’s Susanna’s wedding day, and Figaro has no plans of giving up his bride. During one crazy day of disguises, duplicity, desire and utter madness, the Count is going to get his comeuppance.
Sir David McVicar’s naturalistic staging opens a “comic cauldron of sex and social politics” (Limelight), where the comedy has a dark, sharp edge.