Royal Ballet and Opera Principal Julia Rausing Trust
Principal Partner, The Royal Opera
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
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
Helene Schneiderman
replaces 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
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
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.
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.
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.
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.
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.
For people, not profit.
Royal Opera House Covent Garden Foundation, a charitable company limited by guarantee incorporated in England and Wales (Company number 480523) Charity Registered (Number 211775)