Le Nozze di Figaro

Music by

W. A. Mozart

Metropolitan Opera

New York, NY

Tuesday October 2, 2007 - 8:00 PM
Saturday October 6, 2007 - 1:30 PM
Wednesday October 10, 2007 - 8:00 PM
Saturday October 13, 2007 - 1:30 PM
Thursday October 18, 2007 - 8:00 PM


Figaro  Erwin Schrott
Susanna  Lisette Oropesa
Countess Almaviva  Hei-Kyung Hong
Count Almaviva  Michele Pertusi
Cherubino  Anke Vondung


Philippe Jordan


Jonathan Miller

Set Designer

Peter Davison


James Acheson


Mark McCullough


Terry John Bates


The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle giornata) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to obtain the favors of Figaro's bride-to-be, Susanna. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He responds by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she is really his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.


A ‘Figaro’ With Youth, Agility and Eros

Ms. Oropesa’s last-minute elevation turns out to be a more interesting story than a pregnant Susanna. She proved a vocally and physically agile Susanna, with an attractively silky, flexible timbre. Her fine comic instincts and cheerfully bright sound put her in command of the stage during much of the first two acts. But she conveyed emotional depth too, most notably in her moving, dark-hued account of “Deh vieni, non tardar” in the final act.

—  Allan Kozinn  •  New York Times