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Théâtre du Châtelet Direttore d'orchestra: John Eliot Gardiner Regia: Olivier Mille Scene: Rudy Sabounghy Costumi: Patrick Lebreton Il Conte di Almaviva: Rodney Gilfry La Contessa di Almaviva: Hillevi Martinpelto Susanna: Alison Hagley Figaro: Bryn Terfel Cherubino: Pamela Helen Stephen Marcellina: Susan McCulloch Bartolo: Carlos Feller Basilio/Don Curzio: Francis Egerton Antonio: Julian Clarkson Barbarina: Constanze Backes Due contadine: Lucinda Houghton, Sarah Connolly
Find out more about the Royal College of Music at 🤍 Esteemed baritone and RCM alumnus Sir Thomas Allen directs a rousing performance of Mozart's much-loved comic opera, produced by the RCM Opera Studio. Composed in 1786, Mozart's classic opera has all the ingredients of a modern rom com: love, revenge and deception. Watch courtship turn to chaos for two servants, Figaro and Susanna, as their plans to wed are thwarted by the lecherous Count Almaviva. Lose yourself in Mozart's timeless melodies and witty libretto as the talented cast lead us through a myriad of mistaken identities, mishaps and misunderstandings. Will our hero finally get his bride, or will the marriage of Figaro ultimately descend into mayhem? The performance is sung in Italian. Count Almaviva: Harry Thatcher Countess Rosina Almaviva: Josephine Goddard Susanna: Julieth Lozano Figaro: Adam Maxey Cherubino: Lauren Joyanne Morris Marcellina: Katy Thomson Bartolo: Timothy Edlin Basilio: Joel Williams Don Curzio: Samuel Jenkins Barbarina: Poppy Shotts Antonio: Conall O’Neill Housemaid 1: Camilla Harris Housemaid 2 : Jessica Cale Wet Nurse: Annabel Kennedy Head Housekeeper: Rebecca Leggett Kitchen Maids: Alice Ruxandra Bell & Olivia Turner Laundry Maid: Samantha Gaspe Dairy Maid: Rebekah Jones Gardeners: Dafydd Allen, Peter Edge, Conall O’Neill &Humphrey Thompson Footmen: Peter Dunn & Matthew Keighley Head Footman: Xavier Hetherington Stable Boys: Michael Bell & Adam West RCM Opera Orchestra Conductor: Michael Rosewell Director: Sir Thomas Allen Set Designer: Lottie Higlett Lighting Designer: Rory Beaton Act I: 00:00:00 Act II: 00:47:26 Act III: 01:36:57 Act IV: 02:19:38 Recorded in November 2018 in the Britten Theatre at the Royal College of Music in London. See what the #RCMCommunity is doing right now by following us on social media. 🤍 🤍 🤍
Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], English see fn.), name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 5 December 1791), was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years... 🤍 Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is an opera buffa (comic opera) composed in 1786 in four acts by Wolfgang Amadeus Mozart, with a libretto in Italian by Lorenzo Da Ponte, based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). Beaumarchais's earlier play The Barber of Seville had already made a successful transition to opera in a version by Paisiello. Although Beaumarchais's Marriage of Figaro was at first banned in Vienna because of its licentiousness, Mozart's librettist managed to get official approval for an operatic version which eventually achieved great success... 🤍 A link to this wonderful artists Website: 🤍 Please Enjoy! I send my kind and warm regards,
“LE NOZZE DI FIGARO” Commedia per musica in quattro atti di Lorenzo Da Ponte dalla commedia La folle journée ou le mariage de Figaro di Pierre-Augustin Caron de Beaumarchais Musica di Wolfgang Amadeus Mozart DIRETTORE Michele Mariotti REGIA Mario Martone CAST IL CONTE D'ALMAVIVA Simone Alberghini LA CONTESSA ROSINA Carmela Remigio FIGARO Nicola Ulivieri SUSANNA Cinzia Forte CHERUBINO Marina Comparato BARTOLO Bruno Praticò MARCELLINA Tiziana Tramonti DON BASILIO Mert Sungu ANTONIO Nicolò Ceriani DON CURZIO Saverio Bambi BARBARINA Cristiana Arcari DUE CONTADINE Silvia Calzavara, Roberta Sassi MIMI E FIGURANTI Allievi della Scuola di Teatro "Alessandra Galante Garrone" Orchestra, coro e tecnici del Teatro Comunale di Bologna MAESTRO DEL CORO Lorenzo Fratini SCENE Sergio Tramonti COSTUMI Ursula Patzak LUCI Pasquale Mari COREOGRAFIA Anna Redi Allestimento del Teatro San Carlo di Napoli Orchestra, Coro, Tecnici del Teatro Comunale di Bologna
Aix-en-Provence 2021 Thomas Hengelbrock - Lotte de Beer
Tiene una personalidad guerrera. “De lo contrario, en este mundo, te hunden”, asegura. Bromas aparte sobre su afición a tirar con Kaláshnikov en el campo para desahogarse, la cantante rusa sabe jugar sus bazas. No se puede decir que haya sucumbido absolutamente a la órbita de quienes han querido apadrinarla. Poco a poco ha ido conquistando su bien ganada independencia. Ya sus mentores sacan más provecho de contar ellos con su colaboración que al contrario. La han ayudado y apoyado a fondo en su carrera figuras tan dispares como la de Valeri Gérgiev, Peter Gelb, Plácido Domingo o Daniel Barenboim. El primero la descubrió como director del teatro Mariinski de San Petersburgo. Cuenta la leyenda cenicientesca que ella limpiaba suelos en los pasillos y la escuchó cantar fregona en mano… “Ay, estoy harta de esa historia, además no es del todo cierta. Es verdad que yo limpiaba, pero Gérgiev me descubrió tras haber ganado un concurso”. El zar la adoptó, pero tras su éxito en Salzburgo pasó a otras dimensiones. La de Domingo, con quien ha cantado Juana de Arco en esta pasada edición del festival; la de Barenboim, a quien adora y va a ver actuar en cualquier parte si coinciden en la misma ciudad: “Ahora me ha retado para hacer juntos las últimas cuatro canciones de Strauss, Dios mío”. Pero principalmente la del todopoderoso Peter Gelb. El director del Metropolitan de Nueva York la tiene en palmitas. Netrebko es una de las grandes divas para sus proyectos en su paso por la institución. La soprano tiene un gran tirón con el público. Y laaaaaaaaaaaaaaaaargo recorrido...
The 1976 Jean-Pierre Ponnelle film with Hermann Prey, Mirella Freni, Dietrich Fischer-Dieskau, Kiri Te Kanawa & Maria Ewing. Conducted by Karl Böhm with the Wiener Philharmoniker · KiriOnLine is the Dame Kiri Te Kanawa Fan Site. Follow us... Facebook 🤍 Twitter 🤍 Tumblr 🤍 Instagram 🤍 Pinterest 🤍 Soundcoud 🤍 Google+ 🤍
A live recording from the Glyndebourne Festival Opera in 1973 with Kiri Te Kanawa, Frederica Von Stade, Ilieana Contrubas, Benjamin Luxon & Knut Skram. Figaro - KNUT SKRAM Susanna - ILEANA COTRUBAS The Countess - KIRI TE KANAWA Count Almaviva - BENJAMIN LUXON Cherubino - FREDERICA VON STADE THE LONDON PHILHARMONIC ORCHESTRA THE GLYNDEBOURNE CHORUS Conductor JOHN PRITCHARD Stage Director PETER HALL KiriOnLine is the Dame Kiri Te Kanawa Fan Site. Follow us... Facebook 🤍 Twitter 🤍 Tumblr 🤍 Instagram 🤍 Pinterest 🤍 Soundcoud 🤍 Google+ 🤍
Wolfgang Amadeus Mozart (1756-1791) Le nozze di Figaro by Fritz Busch 🎧 Qobuz 🤍 Apple Music 🤍 🎧 Amazon Music 🤍 Tidal 🤍 🎧 Deezer 🤍 Spotify 🤍 🎧 Youtube Music 🤍 SoundCloud 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本... 00:00 Overture - Le nozze di Figaro, K. 492 03:52 Duettino: Cinque... dieci... venti (Figaro, Susanna) - Act 1 06:36 Duettino: Se a caso Madama (Figaro, Susanna) 09:12 Cavatina: Se vuol ballare (Figaro, Susanna) 11:30 Aria: La vendetta, oh, la vendetta (Bartolo) 14:11 Duettino: Via resti servita, madama brillante (Marcellina, Susanna) 16:24 Aria: Non so più cosa son, cosa faccio (Cherubino) 19:15 Terzetto: Cosa sento! (Conte, Basilio, Susanna) & Aria: Non più andrai, farfallone amoroso (Figaro) 23:40 Aria: Non più andrai, farfallone amoroso (Figaro) 27:15 Cavatina: Porgi, amor, qualche ristoro (Contessa) - Act 2 31:37 Arietta: Voi, che sapete che cosa è amor (Cherubino) 34:41 Aria: Venite, inginocchiatevi (Susanna) 37:37 Terzetto: Susanna, or via sortite (Conte, Contessa, Susanna) 40:33 Duettino: Aprite, presto, aprite (Susanna, Cherubino) 41:30 Esci omai, garzon malnato (Conte, Contessa) 44:02 Signore! Cos'è quel stupore? (Susanna, Conte, Contessa, Figaro) 49:51 Conoscete, signor Figaro (Conte, Figaro, Susanna, Contessa, Antonio) 58:03 Voi, signor, che giusto siete (Marcellina, Bartolo, Basilio, Conte, Susanna, Contessa, Figaro) 1:01:41 Duettino: Crudel! Perché finora farmi languir così? (Conte, Susanna) - Act 3 1:04:23 Recitativo ed aria: Hai già vinta la causa!... Vedrò, mentr'io sospiro (Conte) 1:09:07 Sestetto: Riconosci in quest'amplesso (Marcellina, Figaro, Bartolo, Curzio, Conte, Susanna) 1:13:48 Recitativo ed aria: E Susanna non vien!,.. Dove sono (Contessa) 1:20:40 Duettino: ...sull'aria - Che soave zefiretto (Susanna, Contessa) 1:23:34 Coro: Ricevete, o padroncina (Chorus) 1:24:52 Finale: Ecco la marcia... Amanti costanti (Figaro, Susanna, Conte, Contessa, Due ragazze, Chorus) 1:31:33 Recitativo ed aria: Tutto è disposto... Aprite un po' quegli occhi (Figaro) - Act 4 1:35:50 Recitativo ed aria: Giunse alfin il momento... Deh, vieni, non tardar (Susanna) 1:41:30 Pian, pianin, le andrò più presso (Cherubino, Contessa, Conte, Susanna, Figaro) 1:47:13 Tutto è tranquillo e placido (Figaro, Susanna) 1:50:51 Pace, pace, mio dolce tesoro (Figaro, Conte, Susanna) 1:52:36 Gente, gente, all'armi, all'armi! (Tutti) Figaro: WILLI DOMGRAF-FASSBAENDER Susanna: AUDREY MILDMAY Count: ROY HENDERSON Countess: AULIKKI RAUTAWAARA Cherubino:,LUISE HELLETSGRUBER Marcellina: CONSTANCE WILLIS Bartolo: NORMAN ALLIN (1934), ITALO TAJO (1935) Don Basilio: HEDDLE NASH Curzio: MORGAN JONES Antonio: FERGUS DUNLOP Barbarina: WINIFRED RADFORD Glyndebourne Festival Chorus and Orchestra Conductor: FRITZ BUSCH Recorded in 1934-35, at Glyndebourne New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : 🤍 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : 🤍 ❤️ If you like CMRR content, please consider membership at our Patreon. Thank you :) 🤍 Glyndebourne’s founders, John Christie and wife Audrey Mildmay, opened the first Festival here in 1934. Today our world-renowned auditorium and standards of excellence are testament to John’s original ethos: Not just the best we can do but the best that can be done anywhere. In the years that followed, Glyndebourne continued to be headed by the Christie family, George Christie following in 1962 and then his son Gus, now Executive Chairman, in 2000. Early years of the Glyndebourne Festival revolved almost entirely around Mozart’s extensive repertoire of operatic works before gradually expanding to include works by other composers such as Benjamin Britten, with whom Glyndebourne has enjoyed long association, as well as Giuseppe Verdi, Gioachino Rossini and many others. Originally the theatre was built to seat 300. It was enlarged and improved many times in subsequent years to hold larger audiences; such was the demand for opera at Glyndebourne. By 1977, it held 850 people. By the 1990s it was clear that Glyndebourne needed an even larger auditorium so in 1994 a new opera house was built to seat 1,200, opening with a performance of Mozart’s Le nozze di Figaro, a fitting tribute to the Festival’s origins. Today Glyndebourne reaches around 150,000 people a year with over 120 live opera performances. Its continued employment of inspirational directors, world-class orchestras and performers, and the ongoing drive to commission new work, now go hand in hand with digital innovations such as online streamings to reach new audiences. 🤍 COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT Wolfgang Amadeus Mozart PLAYLIST (reference recordings): 🤍
Figaro : Luca Pisaroni Conductor : René Jacobs Concerto Köln Théâtre des Champs-Élysées (Paris), 2004
Wolfgang Amadeus Mozart Le nozze di Figaro K.492 Figaro : Cesare Siepi Susanna : Hilde Gueden Il Conte di Almaviva : Alfred Poell La Contessa di Almaviva : Lisa della Casa Cherubino : Suzanne Danco Bartolo : Fernando Corena Marcellina : Hilde Rössel-Majdan Don Basilio : Murray Dickie Don Curzio : Hugo Meyer-Welfing Barbarina : Anny Felbermayer Antonio : Harald Pröglhof Wiener Staatsopernchor Wiener Philharmoniker Erich Kleiber Studio recording, Vienna, VI.1955
Natalie Dessay singing in my favourite opera, Le Nozze di Figaro. I can die in peace. For "Les 50 ans de la Fondation Royaumont". A concert celebrating the Fondation Royaumont's 50th anniversary. English and Italian subtitles available! Other arias, duos, trios from this evening: - Così fan Tutte: "Soave sia il vento" 🤍 - Die Zauberflöte: "Bei Männern, welche Liebe fühlen" 🤍 Wolfgang Amadeus Mozart LE NOZZE DI FIGARO Act III Duetto: "Sull'aria...che Soave Zeffiretto" Susanna: Natalie Dessay La Contessa di Almaviva: Karine Deshayes Dir. Arie van Beek Abbaye de Royaumont, France 30 August 2014 Watch the whole concert here: 🤍 LIBRETTO: "Canzonetta sull'aria" Che soave zeffiretto Questa sera spirerà Sotto i pini del boschetto. Ei già il resto capirà. ENGLISH TRANSLATION: "A little song on the breeze" What a gentle little Zephyr This evening will sigh Under the pines in the little grove. And the rest he'll understand.
Wolfgang Amadeus Mozart Le nozze di Figaro Premiere: 26 October 2017 Musikalische Leitung / Conductor: Constantinos Carydis Inszenierung / Production: Christof Loy Christian Gerhaher (Graf Almaviva), Alex Esposito (Figaro), Olga Kulchynska (Susanna), Federica Lombardi (Gräfin Almaviva), Anne Sofie von Otter (Marcellina), Solenn' Lavanant-Linke (Cherubino)
Composer: Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) Libretto: Lorenzo da Ponte Conductor: René Jacobs Performers: Simon Keenlyside (Il Conte), Véronique Gens (La Contessa) Patrizia Ciofi (Susanna), Lorenzo Regazzo (Figaro), Angelika Kirchschlager (Cherubino), Marie McLaughlin (Marcellina), Kobie van Rensburg (Basilio & Don Curzio), Antonio Abete (Bartolo & Antonio), Nuria Rial (Barbarina), Elisabeth Rapp & Yeree Suh (Due Ragazze) Choir: Collegium Vocale Gent Orchestra: Concerto Köln Le nozze di Figaro (The Marriage of Figaro), K. 492, opera buffa in 4 acts, written in 1786 {Act 1} 00:00 – xxx. Ouverture Act I 04:14 – I. Duettino: "Cinque... dieci... venti..." 07:43 – II. Duettino: "Se a caso madama" 13:00 – III. Cavatina: "Se vuol ballare" 16:39 – IV. Aria: "La vendetta, oh, la vendetta" 20:29 – V. Duettino: "Via, resti servita" 24:43 – VI. Aria: "Non so più cosa son" 31:19 – VII. Terzetto: "Cosa sento! tosto andate" 36:28 – VIII. Coro: "Giovani liete" 41:21 – IX. Aria: "Non più andrai" Lorenzo da Ponte wrote the libretto for Mozart's Figaro after falling out with Antonio Salieri, who, as imperial court composer, had obtained the position of court poet for da Ponte. At the time of the opera's composition and first performances, there was a climate of antagonism among factions of Italian musicians and poets living in Vienna, among whom was counted Salieri. Although the efforts of the anti-Mozart Italian clique did not succeed in having Mozart's Figaro banned from the stage, the opera did receive fewer than ten performances in Vienna immediately after its première at the Burgtheater on May 1, 1786. Figaro would have tremendous success in Prague, however, before spreading to other parts of Europe and becoming a classic of the opera buffa repertory. So began the fortuitous Mozart/da Ponte relationship, from which would come two further masterworks, Don Giovanni (1787) and Così fan tutte (1789-1790). Mozart admired Pierre Auguste Caron de Beaumarchais' politically radical play Le mariage de Figaro (1781), the second play in what would become a trilogy based on the autobiographical character Figaro. Beaumarchais' Le barbier de Séville had been performed in 1775 and the third play of the trilogy, La mère coupable, would be premièred in 1793. In his Figaro plays, Beaumarchais, who himself was a participant in the Revolution, working towards anti-aristocratic revolutionary ideas, sharply spoofs pre-Revolution French society. Mozart's music for Figaro consists of conventional dry and accompanied recitative, aria, and ensemble pieces. The overture, despite having no development section, is essentially in sonata form. Mozart musically conveys the range of Figaro's perturbation in his Act One cavatina, "Se vuol ballare," by whimsically changing the character of his music to correspond with Figaro's machinations. Mozart also imbues Figaro's rondo-form aria, "Non più andrai, farfallone amoroso," with colorful musical depictions of Cherubino's forthcoming military service through dotted rhythms and trumpet arpeggio fanfares. The Countess' cavatina, "Porgi amor," conveys the character's elevated social status through its graceful melodic language. The duet ("Aprite, presto, aprite") between Susanna and Cherubino in Act Two bristles expectantly with its moto perpetuo string writing and nervous, patter vocal declamation. In the Count's and Susanna's Act Three duet ("Crudel! Perchè finora"), the minor mode conveys the Count's initial grief and a shift to major mode, after Susanna agrees to come to the garden, confirms a sense of momentary resolution. Later, in the Count's accompanied recitative ("Hai già vinta la causa!"), the orchestra adds an extra emphasis to his verbal expression of anger and agitation through impetuous dotted rhythms and string tremolos. Through furiously rapid-scale passages and trills, the orchestra maintains this angry intensity in the Count's vengeance aria ("Vedrò mentr'io sospiro"). Barbaina's Act Four cavatina, "L'ho perduta...me meschina!" introduces a minor mode melody of classic Mozartean pathos. The finale of Act Four brings the principal characters to beg the Count's forgiveness and the music swells from a pious hymn-like ensemble to a triumphant fanfare-laden exultation. [allmusic.com]
In Mozarts opera Le nozze di Figaro willen Susanna en Figaro trouwen en dat zet een complexe tragikomedie in gang waar regisseur Tom Goossens met veel overtuiging zijn tanden in zet. De solisten en acteurs stralen van plezier tijdens de repetitie en brengen de grappige misverstanden én muzikale hoogtepunten met meesterlijke precisie tot leven. Tom en sopraan Lenneke Ruiten vonden een moment om voor ons een tipje van de sluier op te lichten. Ontdek Le nozze di Figaro vanaf 30/05 in Opera Gent en vanaf 23 juni in Opera Antwerpen. Opgelet, de tickets vliegen de deur uit. Meer info via 🤍eren/yt-le-nozze-di-figaro - Opera Ballet Vlaanderen is een toonaangevende podiumkunstenorganisatie die in Gent en Antwerpen opera, dans en concert maakt voor alle leeftijden. Op het programma staan nieuwe creaties, vergeten meesterwerken en bekende titels uit de opera- en dansgeschiedenis. Om voorstellingen te maken samen met het ballet, orkest, koor en kinderkoor halen we creatief talent van over de hele wereld naar ons huis. Benieuwd naar ons doen en laten, zowel op als naast het podium? Abonneer je op ons kanaal voor meer video's: 🤍 of ga naar onze website voor meer content: 🤍 Wil je meer weten? Volg ons dan op: Facebook: 🤍 Instagram: 🤍 Twitter: 🤍 LinkedIn: 🤍
#경기필하모닉 #figaro #mozart Wolfgang Amadeus Mozart, Le nozze di Figaro 모차르트, 피가로의 결혼 Gyeonggi Philharmonic Orchestra 경기필하모닉 오케스트라 Conductor : Massimo Zanetti 지휘 : 마시모 자네티 (General Music Director, Gyeonggi Philharmonic) Director, Semun Chang 연출 : 장서문 피가로, 손혜수 수잔나, 박하나 알마비바 백작, 우경식, 알마비바 백작부인, 이정혜 케루비노, 김정미 바르톨로, 이두영 마르첼리나, 방신제 안토니오, 김준빈 바르바리나, 박누리 돈 바질리오 & 돈 쿠르치오 합창, 위너 오페라 합창단 - 무대영상디자인, 조유진 의상디자인, 변미라 조명디자인, 박종화 분장디자인, 장경숙 안무무용수, 백주미 조연출, 정지환 주하민 - 무대감독, 박종훈 무대크루, 김은수 박성욱 조명감독, 김규호 조명크루, 현창륜 최재영 최진우 영상오퍼, 함현규 의상크루, 황창숙 임채희 분장크루, 김근영 박진경 자막번역, 장서문 Live recording 5th, March 2022. Gyeonggi Arts Center
Mozart - The Marriage of Figaro Ouverture "Le nozze di Figaro" (K.492) Wiener Symphoniker Japan Tour 2006 Conductor : Fabio Luisi
Musikalische Leitung: Philippe Jordan Inszenierung: Barrie Kosky Aktuelle Serie mit: Hanna-Elisabeth Müller, Ying-Fang, Patricia Nolz, Andrè Schuen, Peter Kellner u.a. Jetzt Karten für nächste Termine sichern: 11./ 13./ 15. / 17./ 19./23./26. März 2023
Figaro : Luca Pisaroni Conductor : René Jacobs Concerto Köln Théâtre des Champs-Élysées (Paris), 2004
Cecilia Bartoli (mezzo-soprano) Live in Italy - Jean-Yves Thibaudet (piano). Teatro Olimpico, Vicenza, June 1998
Figaro en Susanna bereiden hun huwelijksdag voor, maar dat gaat niet zonder verrassingen en onverwachte wendingen. Mozarts 'Le Nozze di Figaro' is een van de meest briljante en diepgaande werken in de geschiedenis van de opera. (Copyright 2019 ROH Photograph by Mark Douet)
Enjoy one of the most beautiful arias from Mozart's Le nozze di Figaro. In Count Almaviva's garden, Susanna sings a tempting serenade. SUBSCRIBE to our channel for new video's every week: 🤍 You can hear the young Chinese soprano Ying Fang, who will return to Dutch National Opera in the future for more exciting roles! Our newly adapted production of Le nozze di Figaro, with an international cast of rising stars, will premiere on our online platform on Sunday 29 November 2020. For only €2.95 you can watch this opera about love and power. How excited are you? More information of Le nozze di Figaro: 🤍 Curious for more OPERA? Then you might also like: Beautiful aria's and chorus pieces: 🤍 Go behind the scenes to our artistic ateliers: 🤍 Looking for something extra special? 🤍 Ready for your first (online) opera? 🤍 Want more? Follow us on: Facebook (ballet): 🤍 Facebook (opera): 🤍 Instagram: 🤍 Website: 🤍 Dutch National Opera & Ballet (Amsterdam) creates, produces and presents both traditional and innovative opera and ballet productions of the highest quality. #LeNozzeDiFigaro #DehVieni #DutchNationalOpera
Wolfgang Amadeus Mozart Le nozze di Figaro Premiere: 26 October 2017 Musikalische Leitung / Conductor: Constantinos Carydis Inszenierung / Production: Christof Loy Christian Gerhaher (Graf Almaviva)
Mozart: Le Nozze di Figaro K.492 Conte di Almaviva: Bernd Weikl Contessa di Almaviva: Gundula Janowitz Susanna: Lucia Popp Figaro: Hermann Prey Cherubino: Agnes Baltsa Marcellina: Margarita Lilova Dottor Bartolo: Kurt Rydl Basilio: Heinz Zednik Antonio: Walter Fink Don Curzio: Kurt Equiluz Barbarina: Maria Venuti Una ragazza: Edith Steininger Chor und Orchester der Wiener Staatsoper Karl Böhm 30. September 1980, Tokyo, Bunka Kaikan モーツァルト「フィガロの結婚」K.492 フィガロ：ヘルマン・プライ スザンナ：ルチア・ポップ アルマヴィーヴァ伯爵：ベルント・ヴァイクル 伯爵夫人：グンドラ・ヤノヴィッツ ケルビーノ：アグネス・バルツァ マルチェリーナ：マルガリータ・リローヴァ バルトロ：クルト・リドル ドン・バジーリオ：ハインツ・ツェドニク ドン・クルツィオ：クルト・エクウィルツ バルバリーナ：マリア・ヴェヌーティ アントニオ：ワルター・フィンク ウィーン国立歌劇場管弦楽団＆合唱団 カール・ベーム（指揮） 演出：ヘルゲ・トマ 舞台装置・衣装：ジャン・ピエール・ポネル 収録：1980年9月30日、東京文化会館 00:00 Overture 24:29 Non so più cosa son 僕はもう自分が何か 42:37 Non più andrai もう飛ぶまいぞこの蝶々 46:40 Act 2 55:39 Voi che sapete 恋とはどんなものかしら 1:00:15 Venite inginocchiatevi おいでなさい 1:11:34 Aprite, presto, aprite 1:37:00 Act 3 1:50:06 E Susanna non vien! Sono ansiosa スザンナはまだ来ないわ！ 1:52:13 Dove sono i bei momenti 美しい思い出はどこへ 2:07:39 Sull'aria...che soave zeffiretto 手紙の二重唱 2:22:56 Act 4 2:28:09 Tutto e disposto すべて準備は整った 2:35:12 Giunse alfin il momento さあ、おいで、遅くならず、素敵な喜びよ 2:40:17 Pian pianin, le andro piu presso #mozart #モーツァルト
The Countess agrees to take Susanna's place, wearing her clothes, to meet the Count in the garden. At her dictation, Susanna writes a letter confirming the assignation and fastens it with a pin, which he is to send back as acceptance. WEB: 🤍 TWITTER: 🤍 FACEBOOK: 🤍 INSTAGRAM: 🤍 Recorded June 2017 - Garsington Opera, UK Susanna (maid to Countess Almaviva) - Jennifer France Countess Almaviva - Kirsten MacKinnon Garsington Opera Orchestra Conductor - Douglas Boyd Director - John Cox Designer - Robert Perdziola Lighting designer - Mark Jonathan Associate director - Bruno Ravella Choreographer - Kate Flatt
Act I of Mozart's Le Nozze di Figaro, Metropolitan Opera 1985 More about this production here: 🤍
Wolfgang Amadeus Mozart Le nozze di Figaro Premiere: 26 October 2017 Musikalische Leitung / Conductor: Constantinos Carydis Inszenierung / Production: Christof Loy Federica Lombardi (Gräfin Almaviva)
Composer: Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) Libretto: Lorenzo da Ponte Conductor: René Jacobs Performers: Simon Keenlyside (Il Conte), Véronique Gens (La Contessa) Patrizia Ciofi (Susanna), Lorenzo Regazzo (Figaro), Angelika Kirchschlager (Cherubino), Marie McLaughlin (Marcellina), Kobie van Rensburg (Basilio & Don Curzio), Antonio Abete (Bartolo & Antonio), Nuria Rial (Barbarina), Elisabeth Rapp & Yeree Suh (Due Ragazze) Choir: Collegium Vocale Gent Orchestra: Concerto Köln Le nozze di Figaro (The Marriage of Figaro), K. 492, opera buffa in 4 acts, written in 1786 {Act 3} Act III 02:24 – XVI. Duettino: "Crudel! Perché finora" 06:01 – XVII. Recitativo ed Aria: “Hai già vinta la causa!” 07:25 – “Vedrò mentr’io sospiro” 12:55 – XVIII. Sestetto: "Riconosci in questo amplesso" 19:15 – XIII. Recitativo ed Aria: "E Susanna non vien!" 20:43 – “Dovo sono” 26:11 – XX. Duettino: "Che soave zeffiretto" 29:13 – XXI. Coro: "Ricevete, o padroncina" 33:30 – XXII. Finale: "Ecco la marcia" 35:34 – "Amanti costanti" 36:47 – "Eh già, solita usanza" 38:36 – "Andate, amici" 39:08 – "Amanti costanti" Lorenzo da Ponte wrote the libretto for Mozart's Figaro after falling out with Antonio Salieri, who, as imperial court composer, had obtained the position of court poet for da Ponte. At the time of the opera's composition and first performances, there was a climate of antagonism among factions of Italian musicians and poets living in Vienna, among whom was counted Salieri. Although the efforts of the anti-Mozart Italian clique did not succeed in having Mozart's Figaro banned from the stage, the opera did receive fewer than ten performances in Vienna immediately after its première at the Burgtheater on May 1, 1786. Figaro would have tremendous success in Prague, however, before spreading to other parts of Europe and becoming a classic of the opera buffa repertory. So began the fortuitous Mozart/da Ponte relationship, from which would come two further masterworks, Don Giovanni (1787) and Così fan tutte (1789-1790). Mozart admired Pierre Auguste Caron de Beaumarchais' politically radical play Le mariage de Figaro (1781), the second play in what would become a trilogy based on the autobiographical character Figaro. Beaumarchais' Le barbier de Séville had been performed in 1775 and the third play of the trilogy, La mère coupable, would be premièred in 1793. In his Figaro plays, Beaumarchais, who himself was a participant in the Revolution, working towards anti-aristocratic revolutionary ideas, sharply spoofs pre-Revolution French society. Mozart's music for Figaro consists of conventional dry and accompanied recitative, aria, and ensemble pieces. The overture, despite having no development section, is essentially in sonata form. Mozart musically conveys the range of Figaro's perturbation in his Act One cavatina, "Se vuol ballare," by whimsically changing the character of his music to correspond with Figaro's machinations. Mozart also imbues Figaro's rondo-form aria, "Non più andrai, farfallone amoroso," with colorful musical depictions of Cherubino's forthcoming military service through dotted rhythms and trumpet arpeggio fanfares. The Countess' cavatina, "Porgi amor," conveys the character's elevated social status through its graceful melodic language. The duet ("Aprite, presto, aprite") between Susanna and Cherubino in Act Two bristles expectantly with its moto perpetuo string writing and nervous, patter vocal declamation. In the Count's and Susanna's Act Three duet ("Crudel! Perchè finora"), the minor mode conveys the Count's initial grief and a shift to major mode, after Susanna agrees to come to the garden, confirms a sense of momentary resolution. Later, in the Count's accompanied recitative ("Hai già vinta la causa!"), the orchestra adds an extra emphasis to his verbal expression of anger and agitation through impetuous dotted rhythms and string tremolos. Through furiously rapid-scale passages and trills, the orchestra maintains this angry intensity in the Count's vengeance aria ("Vedrò mentr'io sospiro"). Barbaina's Act Four cavatina, "L'ho perduta...me meschina!" introduces a minor mode melody of classic Mozartean pathos. The finale of Act Four brings the principal characters to beg the Count's forgiveness and the music swells from a pious hymn-like ensemble to a triumphant fanfare-laden exultation. [allmusic.com]
HIGHLIGHTS aus der Oper "Le nozze di Figaro" von W. A. Mozart: Golda Schultz/Susanna und Marianne Crébassa/Cherubino singen: "Aprite, presto, aprite!"/Duettino 2.Akt. - Teatro alla Scala Milano 2016, Musikalische Leitung: Franz Welser-Möst, Inszenierung: Frederic Wake-Walker.
Wij gingen voor de langverwachte première van Le nozze di Figaro het enthousiasme al eens opmeten tijdens de italienne. Op deze repetitie komen de solisten, het orkest en het koor voor het eerst samen. Een super belangrijk moment dus! Zeker wanneer de muziek van Mozart precisiewerk vereist. Dirigente Marie Jacquot legt het samen met soliste Maeve Höglund haarfijn uit. Bestel je kaartjes op operaballet.be - Opera Ballet Vlaanderen is een toonaangevende podiumkunstenorganisatie die in Gent en Antwerpen opera, dans en concert maakt voor alle leeftijden. Op het programma staan nieuwe creaties, vergeten meesterwerken en bekende titels uit de opera- en dansgeschiedenis. Om voorstellingen te maken samen met het ballet, orkest, koor en kinderkoor halen we creatief talent van over de hele wereld naar ons huis. Benieuwd naar ons doen en laten, zowel op als naast het podium? Abonneer je op ons kanaal voor meer video's: 🤍 of ga naar onze website voor meer content: 🤍 Wil je meer weten? Volg ons dan op: Facebook: 🤍 Instagram: 🤍 Twitter: 🤍 LinkedIn: 🤍
Subtítulos por Agapò te Musikè 2 ESPAÑOL: Las bodas de Fígaro (título original en italiano, Le nozze di Figaro) es una ópera bufa en cuatro actos con música de Wolfgang Amadeus Mozart y libreto en italiano de Lorenzo da Ponte, basado en la pieza de Pierre Augustin Caron de Beaumarchais, Le mariage de Figaro. Fue compuesta entre 1785 y 1786 y estrenada en Viena el 1 de mayo de 1786 bajo la dirección del mismo compositor y luego se volvió a estrenar el 3 de mayo. Es considerada como una de las mejores creaciones de Mozart y una de las óperas más importantes de la historia de la música. A pesar de recibir muchas críticas en su época, logró grandes éxitos en sus representaciones. Las bodas de Fígaro es una de las óperas más destacadas del repertorio operístico estándar y aparece como la número 5 en la lista de Operabase de las óperas más representadas en todo el mundo para el período 2005-2010. ENGLISH: The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro]), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. DEUTSCH: Le nozze di Figaro, zu deutsch Die Hochzeit des Figaro oder Figaros Hochzeit, ist eine Opera buffa in vier Akten von Wolfgang Amadeus Mozart (KV 492). Das italienische Libretto stammt von Lorenzo da Ponte und basiert auf der Komödie La Folle Journée ou le Mariage de Figaro (Der tolle Tag oder Die Hochzeit des Figaro) von Pierre Augustin Caron de Beaumarchais aus dem Jahr 1778. Die Uraufführung durch die Wiener Hofoper fand am 1. Mai 1786 im Burgtheater am Michaelerplatz statt. Link de libretto en italiano y español: 🤍 🤍 🤍 Check Agapò te Musikè's channels for more double-subbed opera! DISCLAIMER: I do not own any of the content displayed in this video, nor do I intend to use it to obtain monetary benefit.
Provided to YouTube by Universal Music Group Mozart: Le nozze di Figaro / Act 1 - "Cinque... dieci... venti... " · Cecilia Bartoli · Bryn Terfel · Orchestra dell'Accademia Nazionale di Santa Cecilia · Myung-Whun Chung Cecilia & Bryn ℗ 1999 Decca Music Group Limited Released on: 1999-01-01 Producer: Evans Mirageas Studio Personnel, Balance Engineer: Neil Hutchinson Composer: Wolfgang Amadeus Mozart Author: Lorenzo Da Ponte Author, Original Text Author: Pierre Augustin Caron de Beaumarchais Auto-generated by YouTube.
Today we´ll have a look at Le Nozze di Figaro to see all the musical tools and resources that Mozart uses to define the personalities of the major characters: Susanna, Figaro, Count Almaviva and Countess Rosina ( sorry Cherubino fans out there). We will see how Mozart uses references to dances, opera seria, religious music and more to give us a sense of what the characters are about. And we will also have a look at the FINALE, to see if we can figure out whether the Count is truly sorry... follow us at 🤍howimettheopera For my research I read this book which I recommend, and its on SCRIBD: Rhythmic Gesture in Mozart by W.J. Allanbrook I use small extracts from Le Nozze di Figaro for educational purposes from the following production: Theatre du Chatelet / John Elliot Gardiner / Olivier Mile
Marlis Petersen sings Susanna's aria from Act II of Mozart's "Le Nozze di Figaro" in Richard Eyre's new production. See Le Nozze di Figaro live at the Met: 🤍 See it Live in HD: 🤍 Production: Richard Eyre Conductor: James Levine The Metropolitan Opera 2014-15 Season
Figaro : Luca Pisaroni Susanna : Rosemary Joshua Conductor : René Jacobs Concerto Köln Théâtre des Champs-Élysées (Paris), 2004
HIGHLIGHTS aus der Oper "Le nozze di Figaro" von W. A. Mozart: Wonderful Cherubino-Aria: Die französisce Mezzosopranistin Marianne Crébassa/Cherubino singt die Arie "Voi che sapete che cosa è amor"/2.Akt. - Teatro alla Scala Milano 2016, Musikalische Leitung: Franz Welser-Möst, Inszenierung: Frederic Wake-Walker.
HIGHLIGHTS aus der Oper "Le nozze di Figaro" von W. A. Mozart wonderfull duet: Diana Damrau/Contessa und Golda Schultz/Susanna singen: "Che soave zeffiretto"/Duettino 3.Akt. - Teatro alla Scala Milano 2016, Musikalische Leitung: Franz Welser-Möst, Inszenierung: Frederic Wake-Walker.
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![Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Overture, Act I} [With score]](https://i.ytimg.com/vi/ORpaNV9zbr0/mqdefault.jpg "Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Overture, Act I} [With score]")
![Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Act III} [With score]](https://i.ytimg.com/vi/N6EvE5funko/mqdefault.jpg "Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Act III} [With score]")
