By Joan Mompart on arias and overtures from Il Barbiere di Siviglia (Rossini, Paisiello), Le Nozze di Figaro (Mozart) and Fantasio (Offenbach).
Duration: approx. 55min. (without intermission)
Figaro is a character present in every era. Why did he interest Mozart and Rossini so greatly? Why does he appeal to us today? No doubt because he represents a humanity?that resonates with everybody. Or, as Beaumarchais puts it in The Marriage of Figaro: “a shapeless assembly of unknown parts; a puny, imbecilic being; a small, frisky animal; an ardent young man with a taste for pleasure, who performs all jobs in order to live; master here, valet there, according to the whim of fortune; ambitious through vanity, industrious through necessity, yet lazy... with delight! Orator depending on the danger; poet through relaxation; musician on occasion, lover in mad surges...” He has seen everything, done everything, exhausted everything. In the same way that Beaumarchais, who went from being a watchmaker to a choir master, had a hundred lives, so did Figaro. In this musical episode, Beaumarchais will haunt the Opéra des Nations and will himself be haunted by his own characters: Bazilio, Bartholo, the Count. They will try to silence him, make him reason. Figaro does not reason; he lives in the present.
|Musical Director||Philippe Béran|
Héloïse Mas (13 & 15.11.17)
Irina Shishkova (18.12.17)
Marina Viotti (20 & 22.03.18)
|L'Orchestre de Chambre de Genève|