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The Royal Opera
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears

The Marriage of Figaro

Cast sheet

Wednesday 4 September 2024

|

6.45pm

OPERA IN FOUR ACTS
The 427th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.
Exceptional philanthropic support from

Royal Ballet and Opera Principal Julia Rausing Trust

Production generously supported by

Principal Partner, The Royal Opera

Approximate timings

The performance lasts approximately 3 hours 30 minutes, including one interval
Acts I and II
100 minutes
Interval
30 minutes
Acts III and IV
80 minutes
Credits

Music

Wolfgang Amadeus Mozart

Libretto

after La Folle Journée, ou Le Mariage de Figaro by Pierre-Augustin Caron de Beaumarchais

Lorenzo da Ponte

Conductor

Julia Jones

Director

David McVicar

Designer

Tanya McCallin

Lighting designer

Paule Constable

Movement director

Leah Hausman

Cast

Figaro

Luca Micheletti

Susanna

Ying Fang

Count Almaviva

Huw Montague Rendall

Countess Almaviva

Maria Bengtsson

replaces Jacquelyn Stucker

Cherubino

Ginger Costa-Jackson

Bartolo

Peter Kálmán

Marcellina

Rebecca Evans

Don Basilio

Adrian Thompson

Antonio

Jeremy White

Don Curzio

Alasdair Elliott

Barbarina

Isabela Díaz

First Bridesmaid

Caroline Modiba

Second Bridesmaid

Miranda Westcott

Actors

Servants of the Count’s household

Chris Agha, Jake Barton, Lucy Brenchley, Kenneth Bryers, Jane Evers, Iliana Flade, Jamie Francis, Irene Hardy, Samuel Morgan-Freeman, Mette Nilsen, Josh Thompson, Sirena Tocco

Isabela Díaz is a Jette Parker Artist
Jacquelyn Stucker has withdrawn from this production for health reasons. The role of Countess Almaviva will be performed by Maria Bengtsson.
Chorus and Orchestra

Chorus

Royal Opera Chorus

replaces Royal Opera Chorus.

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Principal Guest Concert Master

by Arrangement with TRITTICO

Vasko Vassilev

Fortepiano Continuo

Mark Packwood

Production credits

Music preparation

Susanna Stranders, Mark Packwood

Assistant Directors

Harriet Taylor, Thomas Henderson

Language coach

Barbara Diana

Patron

HM The King

Music Director Designate

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

Count Almaviva lives with his Countess on their estate near Seville. The Count has his eye on his wife’s maid Susan...

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 after 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 flirts 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.

Guidance

Suitable for all, subject to House rules
Children under the age of five are not permitted into our theatres. Children over age five must have their own ticket and sit next to an accompanying adult.

Language

Sung in Italian with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

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