Wolfgang Amadeus Mozart
THE MARRIAGE OF FIGARO
Le Nozze di Figaro
Opera buffa in four acts, in Italian.
Recitatives in Polish, translated by Stanisław Barańczak
Music Director | Piotr Sułkowski
Directing | Grzegorz Chrapkiewicz
Set Designer | Wojciech Stefaniak
Costumes | Katarzyna Szczurowska, Anna Skupień
Choreography | Jarosław Staniek, Katarzyna Zielonka
Lighting Design | Piotr Pawlik
Arkadiusz Jarosz, Sebastian Piotrowicz, Patryk Rybarski, Przemysław Stokowiec, Jakub Piotrowicz, Maciej Kuchta
MUSICAE ANTIQUAE COLLEGIUM VARSOVIENSE
This is a real treat for music aficionados, as one should perceive every premiere of Wolfgang Amadeus Mozart’s The Marriage of Figaro in this way. When such a premiere takes place almost three and a half decades after the initial presentation of this work on the Warszawska Opera Kameralna stage and is held in the same venue, it is indeed a grand feast of classical opera. Le Nozze di Figaro, or The Marriage of Figaro, known to experts as K. 492, is a magical, three-digit number that systematizes the legacy of Wolfgang Amadeus Mozart in the catalogue of Ludwig Alois Ferdinand Ritter von Köchel. But beneath these three figures lies an absolute monument, an iconic work on the pedestal of all art, patronized by Polyhymnia. It is a catalog of human dramas, love elations, foibles, and a description of human weaknesses, as well as a praise of the heart’s impulses, like spring water. All of these were described by Lorenzo da Ponte, who gave Mozart a libretto directly referencing Pierre Beaumarchais’s 1781 play.
This piece is included in the catalogue of the most remarkable works of classical music, not to mention the canon of operas. In all of classical music, few compositions have appeared so spectacularly in the legacy of our civilization, and among operas, this is an absolute artistic Olympus. It’s even harder to believe that the Salzburg Master created this masterpiece within six weeks!
For the Warszawska Opera Kameralna, The Marriage of Figaro is a showcase of chamber musicians, sung by countless opera stars and singers often debuting at the Warszawska Opera Kameralna. With infinite performances throughout Europe, including the most renowned festivals, and a phenomenon of popularity in the Land of the Cherry Blossom, where the Warsaw chamber musicians staged this spectacle about a hundred times, it is already written in golden letters in the annals of Polish opera.
In the words that moved Mozart: “I’m talking about love in reality, I talk about love in dreams, about water, shadows, mountains, flowers, grass, fountains; the quivering of human emotions written in notes, written out for voices and instruments awaits us.”
LIBRETTO
ACT I
In a room in the castle of Count Almaviva, Figaro, the Count’s servant, is in love with Susanna, the Countess’s maid. The Count also seems to be infatuated with the girl. Marcellina appears. In the past, Figaro borrowed money from her, promising to marry her if he didn’t repay her. Doctor Bartolo also wants to free himself from Marcellina. Additionally, a young page, Cherubino, who sighs for Barbarina – the gardener Antonio’s daughter – also sighs for the Countess. The Count decides to send Cherubino away from the castle, but after Susanna’s intervention, he orders him to join the army.
Figaro plans a plot: Susanna will arrange an encounter with Almaviva, but Cherubino will appear instead. Fearing ridicule, the Count would agree to Susanna’s and Figaro’s wedding. When Cherubino dresses up in women’s clothes, the Count wants to enter his wife’s alcove. Cherubino makes noise while trying to hide, which arouses the Count’s jealousy. Instead of Cherubino, Susanna hides and is discovered by Almaviva. He is ready to apologize to his wife for his unjust suspicion when Antonio appears, complaining that someone trampled his flowers when stepping out of the window. Figaro takes the blame himself, but the Count remains suspicious. Marcellina demands either repayment of the debt or marriage. Figaro refuses, and the Count appoints a court hearing.
ACT II
Susanna arranges the meeting with Almaviva. However, Figaro’s careless word makes the Count suspicious of deceit. He decides to take revenge on his servant during the trial. Then it turns out that Figaro is the missing child of Marcellina and Bartolo. The Countess, trying to regain her husband’s love, changes into Susanna’s clothes and goes out for the arranged encounter. Antonio meets Cherubino, who has never become a soldier. The Count, though wanting to punish the young page, must give him permission to marry Barbarina. A while ago, while seducing Barbarina, he promised to make her every dream come true.
Figaro notices Susanna delivering a note to the Count. He becomes obviously jealous and decides to go to the meeting place to take revenge on Susanna. During the night scene in the garden, a series of funny misunderstandings occurs – the Count mistakes his wife for Susanna, and Figaro confuses Susanna with the Countess, to whom he confesses his love. When the situation finally clarifies, the Count begs his wife for forgiveness and gives permission for Susanna’s and Figaro’s marriage.