Acting
Containing some of the most beautiful arias and attractive ensembles in all opera, Così fan tutte is packed with both pathos and humour. Mozart and Da Ponte's witty, compassionate examination of young love has ensured its lasting popularity. Jonathan Miller’s original 1995 production for Covent Garden is dear to the hearts of London audiences and has been revived numerous times. Necessity, they say, is the mother of all invention. With no money left for costumes, Miller has the genius idea of asking Giorgio Armani to lend a hand... This production is from Sept 2010.
No description available.
Mozart under the stars and on the big screen. This is the principle of the operation proposed on 16 July 2011 by the Opéra de Lyon. The representation that was played on his stage was broadcast simultaneously and outdoors in thirteen Rhône-Alpes cities including Ambérieu-en-Bugey, Valence and Grenoble. Thousands of spectators were able to attend a free version of the opera "Cosi fan tutte". It is Adrian Noble who signs the mise-en-scene of this umpteenth production of the famous masterpiece, a joke on the banter that will turn to drama. The American made a bold choice by transposing the plot to a beach in California . The idea came to him during a stay in Santa Monica: the skaters on the sidewalk made him think of the characters Ferrando and Guglielmo who play with their lovers.
Take Mozart's darkest opera, add the artistry of Iván Fischer and the Budapest Festival Orchestra and bring them all together in the breathtaking surroundings of Palladio's Teatro Olimpico in Vicenza. Those were the basic ingredients for this production of Don Giovanni at the 2025 Vicenza Opera Festival, but it's safe to say that the reality exceeded expectation. After a lifetime's engagement with Mozart, Iván Fischer has developed a very personal approach to stage direction; and with a cast that includes André Schuen in the title role and Maria Bengtsson as Donna Anna this is in every sense a landmark staging.
The Marriage of Figaro is one of the most emblematic operas in the repertoire. Brahms spoke of it as a “miracle” and the Countess' complaint still resonates today as one of the most heartbreaking musical pages. It was by resuming Beaumarchais' comedy, which caused a scandal in Parisian society, that Mozart and his librettist Da Ponte began their first collaboration. The play was banned by Joseph II in 1785 at the Vienna Theater. Is it because it exposed too much to the forefront the contradictions of an already faltering regime, ready to collapse with the French Revolution? Netia Jones preserves the very essence of Beaumarchais' play by questioning human relationships with humor but not without mischief, in a production which confuses reality and fiction to the point of asking, like the Count: "Are we playing a comedy?" »
Count Almaviva lives with his Countess on their estate near Seville. The Count has his eye on his wife’s maid Susanna, who is betrothed to the Count’s servant, Figaro. Much to Figaro’s dismay, the Count plans to seduce Susanna on wedding night. Meanwhile, Cherubino, the Count’s young page, is infatuated with the Countess, but has just been dismissed after being discovered with Barbarina, the gardener Antonio’s daughter.
The successful artist and playboy Juan is a notorious seducer of women, through his ability to be just what a woman dreams of: Charming, charismatic, strong, sensitive, sexual. Driven by a restless urge to conquer new women, use them, and throw them away, he has hired his friend Leporello to help create a masterpiece: A filmed database of all the women whose dreams Juan has shattered. We follow Juan and Leporello through 24 compressed hours. Juan seduces the young upper-class girl Anna, but ends up accidentally killing her father, a powerful police commissioner. The two friends run away, but Juan's constant need to seduce new women keeps interrupting their flight. As the police gains in on them, Juan also steals the young bride Zerlina from her groom Masetto, and soon a feverish manhunt is on for Juan.
Based on a poem published in 1810 with more ethnographic than dramatic focus, Britten constructed a sombre parable about the conflict between the masses and the individual. The maritime atmosphere, the crudity of people’s lives and passions, and the complex, impenetrable personality of the protagonist come together in a tragedy which ferments and explodes in the din of silence and hearsay. New production of the Teatro Real, in co-production with the Royal Opera House Covent Garden of London, the Opéra national of Paris and the Teatro dell’Opera of Rome
