Theatre of the Warsaw Chamber Opera
Wolfgang Amadeus Mozart
Le nozze di Figaro
Comic opera in four acts, performed in the original Italian
Recitatives in Polish, translated by Stanisław Barańczak
Libretto | Lorenzo da Ponte
Creative Team
Stage Direction and Production | Grzegorz Chrapkiewicz
Musical Direction | Piotr Sułkowski
Set Design | Wojciech Stefaniak
Costume Design | Katarzyna Szczurowska, Anna Skupień
Choreography | Jarosław Staniek
Lighting Direction | Piotr Pawlik
Assistant Choreographer | Katarzyna Zielonka
Cast
Count Almaviva | Hubert Zapiór
Countess Rosina | Bożena Bujnicka
Susanna | Aleksandra Orłowska
Figaro | Artur Janda
Cherubin | Jan Jakub Monowid
Marcelina | Wanda Franek
Basilio | Aleksander Kunach
Bartolo | Piotr Miciński
Antonio | Maciej Miecznikowski
Barbarina | Anna Górska
Dancers
Patryk Rybarski, Arkadiusz Jarosz, Patryk Gnaś, Krzysztof Łuczak, Jerema Serafin, Jakub Piotrowicz
Period Instrument Ensemble of the Warsaw Chamber Opera
Musicae Antiquae Collegium Varsoviense (MACV)
Dorota Stawarska | Harpsichord
Conductor | Marcin Sompoliński
From the orchestra pit emanated pure energy—indeed, the euphoria of the instrumentalists of Musicae Antiquae Collegium Varsoviense, conducted by Piotr Sułkowski. The excitement generated by this brilliant score spread to the soloists and the audience, amplified by the farcical style of the production. Mozart in farce? Well… Lorenzo da Ponte’s libretto allows for such interpretation, but Mozart, like a master puzzle-builder, perfectly matched his music to the text. Yet the performers left no doubt: both seasoned artists and newcomers executed playful expressions and gestures in perfect sync with the music, falling into comedic situations as naturally as if they had done nothing else their whole lives.
Slim Artur Janda, sporting a mohawk, combined charm, wit, and a light bass-baritone to create the ideal operatic Figaro, eager to marry Susanna. In this role, Aleksandra Orłowska, new to the WOK ensemble, radiated grace, vocal agility, and intelligence. Tomasz Kumięga portrayed the Count as a quick-tempered, excitable figure, while Karina Skrzeszewska—renowned soprano from the Silesian Opera—shone as the Countess with beauty and vocal brilliance; both were superbly guided in their acting.
The altissimo Cherubino, Jan Jakub Monowid, full of youthful energy, flirted with the Countess, Susanna, and Barbarina (Paulina Tuzińska) simultaneously, even entering the stage on a scooter. Elżbieta Wróblewska drew attention with her performance as the coquettish Marcellina in a feathered hat and tight dress. The scheming Basilio, Aleksander Kunach, moved everywhere with a bright violin case, wearing a flowing gray wig. Beaumarchais subtitled his comedy The Marriage of Figaro as “A Mad Day,” and director Grzegorz Chrapkiewicz, primarily an actor, clearly followed this path. The lyrical interlude amidst the farcical chaos was provided by the harpsichord, occasionally emerging from behind the scenes, performed by the darkly dressed “Constanza Mozart” (Dorota Stawarska). The costumes, creatively designed by Katarzyna Szczurowska and Anna Skupień, stood out against the stark white walls with their bold colors and modern references, blending historical allusions with imaginative flair.
Małgorzata Komorowska – Dziennik Teatralny
The onstage action moved rapidly, and the gags were consistently funny. Among the props appeared the ubiquitous Warsaw scooter. Using the close proximity between stage and audience, the director instructed the singers to act with facial expressions—eye contact and subtle grimaces carried significant meaning, especially since the recitatives were performed in witty, occasionally bawdy Polish translation by Stanisław Barańczak. Polish surtitles for the arias sung in Italian also followed Barańczak’s translation. Purists might have objected, but this choice added charm and clarity, done at a high artistic level.
A notable feature was the alternating countertenors in the role of Cherubino—Jan Jakub Monowid and Michał Sławecki. While opera is a convention, women performing the Cherubino part, even when vocally adept, appear comical in flirtatious scenes.
I particularly enjoyed the inclusion of the harpsichordist in the action, who received several acting tasks. Unlike the singers and dancers in contemporary costumes, she appeared in a period dress and wig, representing “Constanza, Mozart’s wife.”
Alina Ert-Eberdt – Segregatory
The new production by the Warsaw Chamber Opera is a performance in which, despite a few less successful ideas, the director captured the psychological essence of the characters, and the comedic exaggeration of romantic intrigue was heightened. The ascetic white set contrasts with bold, imaginative, colorful costumes, blending contemporary attire with styles evoking Mozart’s era.
The premiere’s strongest asset was the cast. Artur Janda felt completely at home in his frequently performed role of Figaro, delivering an outstanding premiere. Aleksandra Orłowska also excelled in her debut as Susanna—her beauty, awareness of gesture and diction matched her excellent vocal condition. Tomasz Kumięga, performing Count Almaviva, skillfully navigated the conventions of the role, proving himself an artist worth following internationally. Karina Skrzeszewska sang the Countess for the first time, displaying a powerful, beautiful soprano. A highlight was Jan Jakub Monowid as the energetic Cherubino, flirting with all the female leads. Among supporting roles, Elżbieta Wróblewska (Marcellina) and young soprano Paulina Tuzińska (Barbarina) were especially noteworthy.
Magdalena Grzybowska, Opera Lovers
Le nozze di Figaro always enchants: with the charm of its arias, the lightness of its vocal colors, a gallery of extraordinary characters (the sensuous Susanna, flirtatious Cherubino, melancholic Countess, bold Figaro, and stern Count), and thrilling finales cascading with events and inventive solutions. Director Grzegorz Chrapkiewicz’s production captivated with ease, enhanced by Piotr Sułkowski’s musically humorous interpretation. The director played with characters, revealed their weaknesses, highlighted desire and emptiness, softening sharp edges with humor and metaphor, animating the action with gestures and pantomime. Mozart’s music propelled the story forward, imbuing it with natural vitality.
Mozart’s music delights—perhaps because he composed it in full happiness, free from worldly concerns. “A near ‘Mozart craze’ has arrived in Vienna,” wrote biographer Stefan Jarociński, “everyone surrounds him with admiration and recognition, unlike anything since his ‘miraculous childhood.’ He was invited everywhere—to private reunions and public academies, even the finest houses.” His first Viennese opera was Die Entführung aus dem Serail (16 July 1782, Burgtheater), followed by Der Schauspieldirektor (7 February 1786, Schönbrunn). Finally, on 1 May 1786, the world heard and saw The Marriage of Figaro, libretto by Lorenzo da Ponte after Beaumarchais’ comedy.
In the Italian-German score edition published shortly after the premiere, da Ponte called the opera “un quasi nuovo genere di spettacolo” (“almost a new kind of spectacle”). Undoubtedly, without Figaro, there would have been no Don Giovanni, Così fan tutte, or even The Magic Flute. Mozart opened an entirely new chapter in theatre history. “How did he know so much about theatre?” asked the great Italian director Giorgio Strehler, answering: because Mozart was born a man of the theatre, not just a composer. His music encodes movement, pauses, internal and external attitudes, dramatic turning points, and situational color. Strehler added: “The ultimate challenge is translating these interpretative cues clearly and meaningfully to the stage.” Grzegorz Chrapkiewicz succeeded flawlessly.
Critics did not withhold praise after the premiere: “The action moves swiftly. Gags are funny. Among the props appears the ubiquitous scooter in Warsaw. Using the very close distance between stage and audience, the director instructed singers to act with their faces. Eye contact and expressions matter here, since recitatives are in witty, sometimes bawdy Polish translation by Stanisław Barańczak. Italian aria subtitles are also translated by Barańczak… done at a high level” (Alina Ert-Eberdt). “From the orchestra pit emanated energy—indeed, the euphoria of Musicae Antiquae Collegium Varsoviense, conducted by Piotr Sułkowski. The excitement spread to soloists and audience, amplified by the farcical style of the production” (Małgorzata Komorowska).
“Voi che sapete, che cosa è amor”—Cherubino sings. After witnessing this Marriage of Figaro, the audience knows precisely what good, enjoyable opera is.