{"id":16334,"date":"2020-09-11T11:44:58","date_gmt":"2020-09-11T09:44:58","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=16334"},"modified":"2020-09-24T16:39:06","modified_gmt":"2020-09-24T14:39:06","slug":"le-nozze-di-figaro-wolfgang-amadeus-mozar","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/le-nozze-di-figaro-wolfgang-amadeus-mozar\/","title":{"rendered":"LE NOZZE DI FIGARO \/ WOLFGANG AMADEUS MOZART (CONCERT VERSION)"},"content":{"rendered":"

INSCENIZED CONCERT VERSION<\/strong><\/p>\n

The production of Wolfgang Amadeus Mozart\u2019s <\/span>Le nozze di Figaro<\/span><\/i> (The Marriage of Figaro) at the Polish Royal Opera enjoys continuous popularity. This masterpiece which, for over two hundred years, has been present in opera houses all over the world, delights with its perfect form and lightness of musical passages.<\/span><\/p>\n

The opera libretto was written by Lorenzo da Ponte. It was the adaptation of Pierre Augustine Beaumarchais\u2019 comedy<\/span> Le marriage de Figaro, ou La folle journ\u00e9e<\/span><\/i>. Although the idea for using this exact play came from Mozart, it was Da Ponte who so perfectly brought it into effect. Mozart, in turn, having received the brilliantly written script, created a musical masterpiece. In fact, the opera libretto is an effective combination of an interesting and dynamic course of action with a series of comic intrigues. Also deserving special attention is the diversity of human characters, which Mozart so perfectly portrayed. The arias, being the opera\u2019s <\/span>pi\u00e8ce de r\u00e9sistance, <\/span><\/i>and numerous ensembles, present poignant scenes of dilemma and ecstatic joy, while the duets and trios liven up the scenes. Their musical combination only proves the composer\u2019s sensitivity to the changeability and depth of human emotions.<\/span><\/p>\n

Words and sounds, together with other stage and music aids, have been perfectly orchestrated in <\/span>Le nozze di Figaro<\/span><\/i>. Its musical and dramatic genius, universal message and situational humour have made this four-act opera buffa a perfect entertainment for generations of music connoisseur ever since its premiere in 1786.<\/span><\/p>\n

Marta Dziewanowska-Pachowska<\/span><\/p>\n

 <\/p>\n

FRAGMENTS PERFORMED<\/strong><\/p>\n

Overture
\nDuettino (Figaro and Susanna): Cinque\u2026 dieci\u2026 venti\u2026<\/em>
\n<\/em>Recitative\u00a0Cosa stai misurando\u2026
\n<\/em>Duettino (Figaro and Susanna): Se a\u00a0caso madama\u2026<\/em>
\n<\/em>Recitative: Bravo, signor padrone!
\n<\/em>Aria (Figaro): Se vuol ballare,signor contino
\n<\/em>Recitative Scellerato,e perche andate
\n<\/em>Terzetto (Count, Basilio and Susanna): Cosa sento!
\n<\/em>Recitative Via per l\u2019ultima volta la Susanna abbracciate\u2026
\n<\/em>Aria (Figaro): Non pi\u00f9\u00a0andrai\u2026
\n<\/em>Recitative Prendi la mia chitarra e l\u2019accompagna
\n<\/em>Aria (Cherubino): Voi, che sapete\u2026
\n<\/em>Recitative In gabinetto qualche cosa e caduta!
\n<\/em>Terzetto (Count, Countess, Susanna): Susanna or via sortite
\n<\/em>Finale Voi signor,che giusto siete\u2026
\n<\/em>Duet (Count, Susanna): Crudel, perch\u00e8 finora\u2026
\n<\/em>Recitative Carissima!
\n<\/em>Recitative and Aria (Count): Hai gi\u00e0\u00a0vinta la causa\u2026<\/em>,Vedr\u00f2, mentre io sospiro
\n<\/em>Recitative Oh Dio,\u00a0\u00e8 egli!\u2026
\n<\/em>Sextet: Riconosci in questo amplesso\u2026
\n<\/em>Recitative and Aria (Countess): E Susanna non vien!\u2026\u00a0Dove sono i\u00a0bei momenti
\n<\/em>Recitative Cosa mi narri\u2026
\n<\/em>Duettino (Countess and Susanna): Sull\u2019aria\u2026
\n<\/em>Recitative and Aria (Susanna): Giunse alfin il momento\u2026 Deh vieni, non tardar\u2026
\n<\/em>Finale\u00a0Gente, gente, all\u2019armi, all\u2019armi<\/em><\/p>\n

\u00a0<\/span><\/p>\n

CREATIVE CONCEPT <\/span>ANDRZEJ KLIMCZAK <\/a><\/strong>
\nCOSTUME DESIGNER, STAGE PROPS DESIGNER<\/span> MARLENA SKONECZKO<\/strong><\/a><\/p>\n

CAST<\/h4>\n

COUNT\u00a0<\/span> \u00a0WITOLD \u017bO\u0141\u0104DKIEWICZ<\/a>
\n<\/strong>COUNTESS<\/span> ANNA WIERZBICKA<\/a>
\n<\/strong>ZUZANNA\u00a0\u00a0MARTA BOBERSKA<\/a>
\n<\/strong>FIGARO\u00a0 GRZEGORZ \u017bO\u0141YNIAK
\n<\/strong>CHERUBINO\u00a0<\/span>\u00a0 <\/b> \u00a0JUSTYNA RECZENIEDI<\/a>
\n<\/strong>MARCELINA\u00a0TATIANA HEMPEL-GIERLACH<\/a>
\n<\/strong>BASILIO\/CURZIO\u00a0\u00a0LESZEK \u015aWIDZI\u0143SKI<\/a>
\n<\/strong>BARTOLO\u00a0S\u0141AWOMIR JURCZAK<\/a>
\n<\/strong>HARPSICHORD DAGMARA DUDZI\u0143SKA<\/a><\/strong><\/p>\n

THE ORCHESTRA OF THE POLISH ROYAL OPERA<\/a><\/p>\n

CONDUCTOR\u00a0DAWID RUNTZ<\/a><\/strong><\/p>\n

\u00a0<\/span><\/a><\/p>\n

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Seats are not numbered.
\nThe performance in the original language with subtitles in Polish.
\nPLEASE NOTE: <\/b>the entrance to the Royal Theatre in the \u0141azienki Park is located in ul. Agrykola.
\nOne hour before the performance, and also for an hour after its end, the audience can use the electric cart running between the Royal Theater and the \u0141azienki Gate at the corner of My\u015bliwiecka \/ Agrykola streets.<\/p>\n

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We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n