[PDF] THE MARRIAGE OF FIGARO 6 Jan 2022 OF FIGARO.

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Music Director

SIR ANTONIO PAPPANO

Director of Opera

OLIVER MEARS

THE ROYAL OPERA

THE MARRIAGE

OF FIGARO

OPERA IN FOUR ACTS

Music WOLFGANG AMADEUS MOZART

Libretto LORENZO DA PONTE after

La folle Journée ou le Mariage de Figaro by

Pierre-Augustin Caron de Beaumarchais

Conductor and fortepiano continuo ANTONIO PAPPANO

Director DAVID MCVICAR

Designer TANYA MCCALLIN

Lighting designer PAULE CONSTABLE

Movement Director LEAH HAUSMAN

ROYAL OPERA CHORUS

Chorus Director WILLIAM SPAULDING ORCHESTRA OF THE ROYAL OPERA HOUSE

Concert Master SERGEY LEVITIN

Music preparation CHRISTOPHER WILLIS,

MICHAEL SIKICH*, SUSANNA STRANDERS

Assistant Director JOHANNES STEPANEK

Italian language coaches EMMA ABBATE, SELIMA FRIANU *Michael Sikich is participating in the Jette Parker Young Artists

Programme

Position of Music Director Maestro Antonio Pappano generously supported by MRS SUSAN A. OLDE OBE

Generous philanthropic support from

JULIA AND HANS RAUSING and an anonymous donor

THURSDAY 6 JANUARY 2022 AT 11.30AM

APPROXIMATE TIMINGS

The performance will last approximately 3 hours 35 minutes, including one 30 minute interval.

ACTS I AND II 100 minutes

INTERVAL 30 minutes

ACT III AND IV 85 minutes

COVID-19 SAFETY GUIDELINESWe want to welcome you back into the building in a way that keeps you, our sta? and our artists safe. As a courtesy to each other and to help us provide a comfortable and enjoyable experience for everyone, please wear a face covering at all times, unless exempt for medical reasons. Please be mindful of others and their personal space when moving around the theatre and queueing for bars and toilets. Regular cleaning is taking place, with particular attention to high-touch areas such as bannisters and toilets. Hand gel will be available throughout the building.

LANGUAGE

Sung in Italian with English surtitles

CASTFigaro RICCARDO FASSI

Susanna GIULIA SEMENZATO

Bartolo HENRY WADDINGTON

Marcellina MONICA BACELLI

Cherubino HANNA HIPP

Count Almaviva GERMÁN E. ALCÁNTARA

Don Basilio GREGORY BONFATTI

Countess Almaviva FEDERICA LOMBARDI

Antonio JEREMY WHITE

Don Curzio

ALASDAIR ELLIOTBarbarina HELEN WITHERS

First Bridesmaid KATHRYN JENKIN

Second Bridesmaid MIRANDA WESTCOTT

Servants of the Count's Household

Dancers and actors MICHAEL BRAZIL, LUCY BRENCHLEY,

KENNETH BRYERS, KRIS DILLON, JANE EVERS,

ILIANA FLADE, JAMIE FRANCIS, IRENE HARDY,

TREVOR GOLDSTEIN, METTE NILSEN, SIRENA TOCCO,

DANIEL VERNAN

Sopranos KATHRYN JENKIN, DEBORAH PEAKE-JONES,

ERYL ROYLE, EMMA SMITH, HELEN WITHERS

Mezzo-sopranos AMANDA BALDWIN, JANE MITCHELL,

MIRANDA WESTCOTT, CLARE MCCALDIN**

Tenors SIMON DAVIES, LEE HICKENBOTTOM,

ANDREW MACNAIR, TIM PARKER-LANGSTON,

NICHOLAS SHARRATT

Basses JOHN BERNAYS, NIGEL CLIFFE,

CHARBEL MATTAR, OLLE ZETTERSTRÖM

**Extra chorus

SYNOPSIS

Count Almaviva lives with his Countess on their estate near Seville. The Count has his eye on his wife's maid Susanna, who is about to marry the Count's manservant, Figaro. The Count plans to seduce Susanna in the tradition of the droit de seigneur, whereby an aristocrat could bed any female servant on her wedding night. Figaro is not happy with this. Cherubino, the Count's young page, has a crush on the Countess, who protects him. But the Count has just dismissed Cherubino from his service a?er the page was found with the gardener Antonio's daughter,

Barbarina.

ACTS I AND II

Susanna and Figaro prepare their new bedroom. Figaro decides he must foil his master's attempt to seduce Susanna. Marcellina has a legal claim on Figaro and plots with Doctor Bartolo to prevent Figaro's wedding. Cherubino comes to see Susanna in a panic, but hides when the Count arrives to solicit a meeting with Susanna that night. The Count hides when Don Basilio arrives to persuade Susanna to give in to the Count. Don Basilio gossips about Cherubino's infatuation with the Countess. The Count angrily bursts out of hiding and discovers Cherubino. Into the confusion come Figaro and the entire household. They stage a scene to praise the Count for giving up the droit du seigneur. Annoyed, the Count prevaricates about Figaro's wedding and tells Cherubino he must join the army at once. In the Countess's apartment, the Countess, Susanna and Figaro plan a trap for the Count, using Cherubino disguised as a woman. The Countess ?irts with Cherubino, who locks himself in the dressing room when the Count unexpectedly turns up. The Count is suspicious and goes to find an axe with which to break the locked door. While he is away, Cherubino escapes, and Susanna takes his place in the dressing room to fool the Count. But Cherubino is seen escaping by Antonio. Figaro tries to explain everything, but his story seems increasingly far-fetched. Marcellina arrives with her claim, and the Count is delighted to have an excuse to stop Figaro's wedding plans.

INTERVAL

ACTS III AND IV

The Count is increasingly confused. Susanna and the Countess plan Susanna's night-time assignation with the Count - with the Countess disguised as Susanna. At first, the Count falls for the trap, but a remark of Figaro's makes him suspicious. Barbarina smuggles Cherubino back disguised as a girl. Marcellina drops her claim when she and her former lover Bartolo discover Figaro is their long-lost son. Cherubino is discovered and his earlier escape exposed. But Barbarina knows secrets with which to blackmail the Count and save Cherubino. The Count commands they all celebrate Figaro's wedding, secretly expecting that he will meet Susanna later. Figaro believes that Susanna is unfaithful and comes to the garden that night to get revenge, but eventually realizes the real plan of the Countess and Susanna. There are a succession of mistaken identities, confusions and misunderstandings. But out of them, the Count's behaviour is finally exposed and he seeks the forgiveness of his wife.

THE ROYAL OPERA

Patron HRH THE PRINCE OF WALES

Music Director SIR ANTONIO PAPPANO

Director of Opera OLIVER MEARS

Director of Casting PETER MARIO KATONA

Administrative Director CORMAC SIMMS

ROYAL OPERA HOUSE

RECOVERY CAMPAIGN

Live performance is a shared experience, and our audiences are at the heart of what we do on our stages, backstage, online, in cinemas and in our communities. Since March

2020 we have lost £3 in every £5 of our income and we

are hugely grateful for all the support we have received, including from Arts Council England and government, and from you, our generous audiences. In September 2020, we launched our fundraising Recovery Campaign, which continues to form a vital part of our long journey back to a fully functioning and sustainable theatre. Please consider making a donation to help us secure the future of ballet and opera. roh.org.uk/donate

BERNARD HAITINK

(1929-2021) The Royal Opera dedicates this revival to the memory of Bernard Haitink, Music Director of the Royal Opera from

1987-2002.

Bernard Haitink was born in Amsterdam, studied violin and conducting at the Amsterdam Conservatory and joined the Netherlands Radio Philharmonic, first as a violinist and later as Principal Conductor, a position he held from 1957 until

1961. He went on to become the youngest ever Principal

Conductor of the Concertgebouw Orchestra (1961-88), Principal Conductor of the London Philharmonic Orchestra (1967-79) and Music Director of Glyndebourne Festival Opera (1977-88). He made his Royal Opera debut in 1977, when he conducted Don Giovanni and Lohengrin. In the same year, he received an honorary Knighthood, and in

2002, he was made an honorary Companion of Honour in

recognition of his exceptional contribution to UK musical life, Conducting highlights during his tenure as Music Director of The Royal Opera included new productions of Mozart's Le nozze di Figaro and Don Giovanni, Strauss's Die Frau ohne Schatten, Borodin's Prince Igor, Tchaikovsky's The Queen of Spades, Smetana's The Bartered Bride, and three Janáček operas including the first performances of Kát'a Kabanová at Covent Garden. Among other performances, Haitink also conducted revivals of Verdi's Don Carlos and Britten's Peter

Grimes to great acclaim.

But it was perhaps as a Wagner interpreter he was

best known with The Royal Opera. During his tenure he Richard Jones), along with new productions of Parsifal, Die Meistersinger von Nürnberg and Tristan und Isolde. The Spectator described his 1988 Parsifal as 'faultlessly paced... the ritual elements had true splendour', while the Independent hailed 'the glories of Bernard Haitink's work with the orchestra' in his 1995 interpretation of

Meistersinger 'the high point of his tenure'.

His final appearance as Music Director of The Royal Opera came in July 2002, when he conducted a gala of extracts from some of his favourite works, including The Marriage of

Figaro.

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