The Marriage of Figaro

September 26. 2015 - October 24. 2015

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September 26. 2015 - October 24. 2015

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New Production The Marriage of Figaro

Join us at Lyric as the resourceful Figaro gets ready to marry his lovely Susanna – and endeavors to get his fiancée to the altar with her virtue still intact! His boss, the Count, has designs on Susanna and sees no reason to let her escape his noble snare, even if it means breaking the heart of his own long-suffering bride. But there’s rebellion in the air in a comedy that boasts more salon drama and backroom maneuverings than a whole season of Downton Abbey.

Enjoy Mozart’s masterpiece of mistaken identities, morals, and manners, directed by Chicago Shakespeare Theater’s brilliant Barbara Gaines with stunning new sets and sumptuous costumes. Experience the Lyric debuts of two major European stars – Adam Plachetka and Christiane Karg – with Luca Pisaroni as the incorrigibly rapacious Count and Amanda Majeski as “a ravishing, moving, and dignified Countess.” (Financial Times)

Language: In Italian with projected English titles
Running Time: 3 hours 30 minutes including 1 intermission
Location: Lyric Opera House

The Marriage of Figaro videos

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See what critics are saying about The Marriage of Figaro at Lyric Opera

Inside the Opera with Barbara Gaines & Amanda Majeski: The music of The Marriage of Figaro

The Marriage of Figaro director, Barbara Gaines and soprano, Amanda Majeski, discuss the beautiful music and sheer genius of Mozart.

Inside the Opera with Amanda Majeski: The brand new production of The Marriage of Figaro

The Marriage of Figaro soprano, Amanda Majeski, discusses what she loves about taking on a brand new production of a classic Opera.

Behind the Opera with Barbara Gaines: The story of The Marriage of Figaro

The Marriage of Figaro Director, Barbara Gaines, discusses what she loves about this piece and why it is so relatable for the 21st century.

Patter Up! 60 seconds with Luca Pisaroni

Baritone Luca Pisaroni, who stars as the Count in The Marriage of Figaro, talks Italian food, his first job, and busts out some amazing dance moves.

Patter Up! 60 seconds with Amanda Majeski

Soprano Amanda Majeski, who stars as the Countess in The Marriage of Figaro, talks cocktails, her first job, and who she would want to hang out with in the world of opera.

The Marriage of Figaro

by Wolfgang Amadeus Mozart

Erato – Tomlinson, Rodgers, Bartoli, cond. Barenboim
Warner Classics is the Official Education and Promotion Music Provider of Lyric Opera.

"Overture"

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“Non più andrai”

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“Voi che sapete”

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The Marriage of Figaro

by Wolfgang Amadeus Mozart

Lyric Opera Commentaries are sponsored by the Patrick G. and Shirley Welsh Ryan Foundation in memory of their parents.

© 2015/16 Lyric Opera Commentaries
Original sound recordings of musical excerpts used by permission of Warner Classics. All rights reserved. Recording & Production services provided by Mark Travis.
A project of the Women’s Board.

Commentary by Colin Ure

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The Marriage of Figaro articles

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Figaro's Greatest Hits

If you walked down the streets of Vienna in 1786, you'd probably have heard people singing, humming, or whistling tunes from Mozart's latest triumph, The Marriage of Figaro.

They Said What? Praise for The Marriage of Figaro

Did the stars align for Lyric's all-new production of Mozart's The Marriage of Figaro? It certainly had all the right ingredients.

Synopsis

PLACE: “Aguas Frescas,” Count Almaviva’s castle near Seville
TIME: Late 18th century (some time after the action of The Barber of Seville)

A sparsely furnished room.

It is the wedding day of Figaro, Count Almaviva’s valet, and Susanna, the Countess’s maid. Figaro’s satisfaction with their future quarters turns to apprehension upon hearing from Susanna that the Count has offered them the apartment next to his own, making it easier to press his unwelcome attentions on Susanna (Duettino: Se a caso madama). If the Count wants to dance, he, Figaro, will call the tune (Cavatina: Se vuol ballare).

Marcellina and Bartolo plot to prevent Figaro’s marriage. Eager to marry Figaro herself, Marcellina hopes to enforce the terms of an unpaid loan she had made to him. Bartolo joins her cause, longing to avenge himself for Figaro’s past offenses (Aria: La vendetta). Susanna and Marcellina exchange insults (Duettino: Via resti servita).

Cherubino, the Count’s page, is miserable because the Count dismissed him after catching him in a tête-à-tête with Barbarina, the gardener’s daughter. He confesses to Susanna that he trembles at the sight of any woman (Aria: Non so più cosa son).

When the Count approaches, Cherubino hides and overhears him wooing Susanna. Upon hearing Basilio approach, the Count also hides. Basilio has been acting on the Count’s behalf in his pursuit of Susanna. When Basilio hints that Cherubino is pursuing the Countess, the Count emerges from hiding and demands that the page be dismissed (Trio: Cosa sento?). As he tells how he caught Cherubino hiding at Barbarina’s house, the Count inadvertently uncovers him from yet another hiding place. Immediate reprisals are avoided by Figaro’s appearance with a group of peasants (Chorus: Giovani liete). To save face, the Count awards Cherubino a commission in his own regiment. Figaro sings the praises of military life encouraging the dejected Cherubino (Aria: Non più andrai).
The Countess’s boudoir.

The Countess laments the loss of her husband’s love (Cavatina: Porgi amor). She and Susanna are discussing the morning’s events when Figaro arrives with a plan: They will confuse the Count by sending him an anonymous letter alleging that the Countess is receiving a lover, but meanwhile Susanna will agree to meet the Count in the garden. Attending in Susanna’s place will be Cherubino, disguised as a girl. The Countess will interrupt the tryst and force the Count to withdraw all opposition to Figaro’s marriage.

Cherubino sings a ballad to the Countess and Susanna (Canzonetta: Voi che sapete). The maid dresses him for his role in the plot (Aria: Venite, inginocchiatevi). When the Count knocks on the locked door, Cherubino hides in the closet. The Count is confronting his wife with the letter when a noise issues from the closet. The Countess claims that it is Susanna, but refuses to unlock the door (Trio: Susanna, or via sortite). Accompanied by his reluctant wife, the Count leaves to fetch tools to force the closet door open, locking the boudoir door on his way out. Once the two have left, Cherubino jumps out the window and Susanna takes his place in the closet.

When the closet door opens (Finale: Esci ormai, garzon malnato) Susanna steps out, to the Almavivas’ astonishment. The Count’s suspicions are nearly assuaged, excepting the anonymous letter. The ladies reply that this was Figaro’s little joke, but Figaro arrives and denies any knowledge of it. The Count becomes doubly suspicious when Antonio, the gardener, reports that he saw a man jump out the window, leaving behind a military commission as evidence. Assisted by Basilio and Bartolo, Marcellina attempts to present her case before the Count.
Great hall of the castle.

Now with a plan of her own, the Countess orders Susanna to lure the Count to a rendezvous, to be kept by the Countess in disguise. Susanna carries out her mission (Duettino: Crudel, perchè finora). Upon overhearing Susanna whisper to Figaro that they have won their case, the Count vows to punish them both (Aria: Vedrò, mentr’io sospiro). While awaiting Susanna’s reply, the Countess is saddened to be reduced to these intrigues. Recalling happier days (Aria: Dove sono), she vows to change the Count’s heart.

With their lawyer Don Curzio, Marcellina and Bartolo entreat the Count for justice, but Figaro insists that he cannot marry without his parents’ consent. Unfortunately, since he was kidnapped in infancy, their identity remains a mystery to him. A birthmark reveals that Marcellina and Bartolo are the parents (Sextet: Riconosci in questo amplesso). Arriving with money to pay Figaro’s debt, Susanna discovers him embracing Marcellina. Fury turns to joy when Susanna learns the truth – now there will be a double wedding.

The Count learns from Antonio that Cherubino is still in the vicinity. A letter is dictated by the Countess to Susanna (Duettino: Sull’aria) and sealed with a pin. Susanna will deliver it to the Count, who will return the pin to her as a sign that the rendezvous will be kept.

When the disguised Cherubino appears with some village girls, Antonio detects his identity. Barbarina saves the day by claiming Cherubino as her promised reward for a kiss she had given the Count. Seeing the Count prick his finger while reading the letter, Figaro surmises that a love intrigue is involved.
Later that night, Barbarina searches for the pin, having dropped it in the garden (Cavatina: L’ho perduta). She explains to Figaro and Marcellina that the Count asked her to deliver the pin to Susanna “as the seal to the pine grove,” thus informing Figaro of the location of the tryst and the identity of the lady. Figaro rushes off to avenge all husbands, while Marcellina resolves to warn Susanna.

Returning with Basilio, Bartolo, and a group of workmen, Figaro instructs them to hide until he gives the signal to surprise the Count and Susanna. Figaro rails against womankind (Aria: Aprite un po’ quegli occhi). Marcellina informs Susanna that Figaro is waiting in ambush. Susanna exaggeratedly longs for her beloved – fully aware that he is listening (Cavatina: Deh! vieni, non tardar).

Disguised as Susanna, the Countess is visited first by Cherubino (Finale: Pian pianin le andrò più presso), then by her own husband, who offers a ring as a token of his love for “Susanna.” At the sound of Figaro’s arrival, the Countess flees. Disguised as her mistress, Susanna meets Figaro, and once he recognizes her voice, they reconcile their differences. The Count interrupts, thinking he has caught his wife with Figaro. Everyone emerges from hiding, and when the real Countess appears, the Count realizes that it is his own infidelities that have been revealed. The Countess forgives him and Figaro’s wedding celebration commences, finally unencumbered.

Meet The Artists

Adam Plachetka

Figaro

Adam Plachetka's Lyric credits include Figaro/The Barber of Seville (2019|20); Papageno/The Magic Flute (2016|17).

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Christiane Karg

Susanna

German soprano Christiane Karg's Lyric credits include Pamina/The Magic Flute (2016|17) and Susanna/The Marriage of Figaro (2015|16).

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Amanda Majeski

Countess Almaviva

Ryan Opera Center alumna

American soprano and Ryan Opera Center alumna Amanda Majeski has been performing with Lyric since 2009.

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Luca Pisaroni

Count Almaviva

The Italian bass-baritone has established himself as one of the most charismatic and versatile singers performing today.

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Rachel Frenkel

Mezzo-soprano

Rachel Frenkel made her Lyric debut as Cherubino/The Marriage of Figaro (2015|16)

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Katharine Goeldner

Marcellina

American mezzo-soprano Katharine Goeldner has sung 5 roles at Lyric since 2008|19

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Brindley Sherrat

Bartolo

British bass Brindley Sherrat made his Lyric debut as Bartolo/The Marriage of Figaro (2015|16)

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Keith Jameson

Basilio

Tenor and South Carolina native Keith Jameson has sung eight roles with Lyric since 2007/08

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Jonathan Johnson

Curzio

Ryan Opera Center alumnus

Tenor and Ryan Opera Center member Jonathan Johnson's Lyric credits include Curzio/ The Marriage of Figaro (2015|16), Third SS Officer/The Passenger, and Ruiz/Il trovatore (2014|15).

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Bradley Smoak

Antonio

Ryan Opera Center Ensemble

Bass-baritone Bradley Smoak is a native of North Carolina and a Ryan Opera Center member alumnus.

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Hlengiwe Mkhwanazi

Barbarina

Soprano and Ryan Opera Center member Hlengiwe Mkhwanazi's Lyric credits include Barbarina/The Marriage of Figaro (2015|16)

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Laura Wilde

1st Peasant Girl

Ryan Opera Center alumna

Ryan Opera Center alumna Laura Wilde's Lyric credits include Ortlinde/Die Walküre (2017|18).

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Lindsay Metzger

2nd Peasant Girl

Ryan Opera Center alumna

The Mundelein, Illinois native was a mezzo-soprano with the Ryan Opera

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Henrik Nánási

Conductor

Maestro Henrik Nánási directed Madama Butterfly at Lyric Opera of Chicago

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Barbara Gaines

Director

Director Barbara Gaines's accolades include the 2008 Tony Award for Outstanding Regional Theatre and the prestigious Honorary OBE (Officer of the Most Excellent Order of the British Empire).

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James Noone

Set Designer

Set Designer Jim Noone's accolades include the Drama Desk, American Theatre Wing Design Award, two Helen Hayes Awards, the LA Ovation Award, and two NAACP Theatre Design Awards.

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Susan Mickey

Costume Designer

Susan Mickey made her Lyric Opera debut with The Marriage of Figaro (2015|16)

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Robert Wierzel

Lighting designer

Lighting designer Robert Wierzel's Lyric credits include The Marriage of Figaro (2015|16) and Macbeth (2010|11)

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Michael Black

Chorus Master

Michael Black has served Lyric Opera of Chicago since the 2013/14 Season.

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Harrison McEldowney

Choreographer

Choreographer Harrison McEldowney’s work was seen at the Barcelona Olympics’ Closing Ceremonies and Carnegie Hall’s Celebration of 125 Years of Musical Theater.

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