This week Estonian National Opera offers to the audience a mini-concert dedicated to the music of Giuseppe Verdi and the humorous ballet Rosalinde. On Thursday, May 21 starting from 7 PM our audience will be …
On Saturday, May 16 at 7 PM Estonian National Opera will stream online Léo Delibes’s ballet „Coppélia“. The ballet is based on the story „The Sand-Man“ by Ernst Theodor Amadeus Hoffmann, and tells a tale …
Premiere of “Le nozze di Figaro” on 3 February
On 3 of February will be the premiere of Mozart’s opera “Le nozze di Figaro”, staged by Marco Gandini from Italy. The first performances will be conducted by Risto Joost and the main roles sung by Kristel Pärtna or Elina Shimkus, René Soom or Jevgeni Chrebtov, Heli Veskus or Marie Fajtová, Rauno Elp or Aare Saal, Helen Lokuta or Juuli Lill. Set design is by Maria Rossi Franchi and Andrea Tocchio, costume designer is Simona Morresi. Lighting is designed by Rasmus Rembel.
“Le nozze di Figaro” follows the Almaviva household through a single turbulent day as the Count’s page Cherubino fools around with the gardener’s daughter Barbarina, but adores the Countess, who loves the Count, who goes after Susanna, who is engaged to Figaro, who has promised to marry Doctor Bartolo’s wife Marcellina, who is old enough to be his mother… and all this on the eve of Figaro’s marriage!
“Le nozze di Figaro” was Mozart’s first collaboration with librettist Lorenzo Da Ponte. They would soon create “Don Giovanni” and “Così fan tutte”. Lorenzo Da Ponte adapted Pierre Beaumarchais’ controversial play that at the time was banned in Vienna due to its scandalous portrayal of servants outwitting their aristocratic masters. But Da Ponte focuses less on the original satire and more on the timeless issues of the comedy genre. Following its successful Viennese premiere, the opera became a major success when produced in Prague a few months later – a triumph for Mozart that led to the commission to write “Don Giovanni”.
Mozart’s score is sunny and sublime with a bubbling overture, brilliantly crafted arias and animated ensemble scenes that won the hearts of its early audiences. Encores became so numerous that after the work’s third performance the emperor allowed encores only for arias to keep the performance to a sensible length.