Wolfgang Amadeus Mozart

Le nozze di Figaro

Le nozze di Figaro

Tragicomedy in two parts


Music Director and Conductor: Jan Latham-Koenig

Conductor: Andrey Lebedev

Stage Director: Alexey Veiro

Set Designer: Ulrike Jochum

Costume Designer: Jan Meier

Choirmaster: Yulia Senyukova

Choreographer: Sergey Satarov

Lighting Designers: Hannes Sesemann, Hans Fründt

Producer: Peter Schwarz

Drama Advisor: Mikhail Muginshtein


Running time: 3 hours 30 minutes with one intermission


Premiered on 6 October 2014

Recommended for 18+


Sung in Italian with Russian surtitles

The plot of one of the most famous comic operas is widely known. The Novaya Opera’s production aims to seek new meanings in the familiar story. “To surpass the boundaries of situation comedy, to see a parable in a joke, to discover unseen sides of Mozart’s music, preserving at the same time the psychological bonds of the characters” — this is how stage director Aleksey Veiro defines the main point of the production.

The idea of “theatre in theatre” will be underlined by an empty stage where the story starts and where it returns. One crazy day ends and is immediately followed by another one and no one knows what it will bring…

The production team is international and includes the Novaya Opera’s stage director Aleksey Veiro and German set designer Ulrike Jochum, costume designer Jan Meier, lighting designers Hannes Sesemann and Hans Fründt as well as producer Peter Schwarz.

Director Aleksey Veiro 

The main theme of the production is “I and the other”, human bonds through love. We have defined the genre of the piece as tragicomedy. It means there is laughter, but it is laughter on the edge of an abyss, born from a feeling of tragedy, of life’s finiteness. The visual attributes of the production emphasize the transformation of a pure, white, perfect surface into reality which has its own shape and is crowded with people and events.

 Music Director Jan Latham-Koenig 

Despite the best efforts of musicologists and the authentic music specialists, we do not actually know how authentic instruments sounded in the 18th century. That is why people are very protective and defensive about their very strong opinions. I think they all miss the point – the most important thing is the essence of the opera and it should be successfully communicated to the audience by the conductor, singers and orchestra.

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