Susanna and Figaro want to get married. They are very much in love, have good jobs at the count’s court and are just moving in their first apartment together. Live is good. If it wasn’t for the conniving count himself, who is in love with Susanna and wants to instill his right to the wedding night again. Together with the countess and the help of teenage page Cherubino, Susanna and Figaro plot against the count.

The Marriage of Figaro

Olavinlinna

“Al’alba vincerò - at sunrise I will win“, the unknown prince bawls out to the city, making him one of the few heroes of Italian opera whose arioso sleeplessness is due to confidence rather than despair. The others have to despair instead. Primarily the inhabitants of the city, in which – “nessun dorma“ – no one is allowed to sleep because everyone has to search for the name of the unknown man on the highest orders and under threat of the death penalty. That Turandot should actually end well by Puccini’s standards can be felt – like so much else – in the central tenor aria of the work. Puccini knew better than anyone how to force an emotional involvement on the audience through the merciless immediacy of his musical language. The piece itself ends happily, albeit without Puccini, who had to lay down his arms in his battle against laryngeal cancer before the finale was finished. And so Turandot joins the ranks of the great opera fragments of the 20th century. But not only is the piece more or less a chimera, the title character herself also seems to be primarily a projection: “Turandot does not exist! Only nothingness exists“, Ping, Pang and Pong warn the unknown prince to prevent him from attempting the three riddles that need to be solved in order to win the emperor’s daughter Turandot. Anna Sophie Mahler, whose Stuttgart production of Saint François d’Assise 2023 was named the “most unusual opera experience of the year“ by the journal Opernwelt, will set out 100 years after the premiere of Puccini’s enigmatic last opera in search of the “fluid of love“ with which the composer wanted to pacify nerves stretched to the limit in the opera’s finale. Because, this much is certain: this fluidum would also be useful today.

Turandot

Stuttgart Opera

The wedding of the servant couple Figaro and Susanna is imminent, and everything could be so wonderful, if it weren’t for the lecherous Count Almaviva, who has been stalking Susanna for some time, as well as the vengeful Doctor Bartolo and his housekeeper Marcellina, who all wish to prevent the wedding. After numerous twists and turns, Figaro and Susanna, with the help of the Countess and thanks to an ingenious plan of revenge, finally succeed in thwarting Almaviva using his own art of seduction so that, in the end, all couples are reunited. Wolfgang Amadeus Mozart’s „The Marriage of Figaro“, which premiered at Vienna’s Hoftheater in 1786, is the first of the three Mozart-da Ponte operas. Despite its quick-fire comedic action, the work foreshadows some of the radical ideas of the French Revolution. In his staging, director Johannes Erath takes the audience on a journey through the different epochs of theatrical history from Commedia dell’arte to the modern age.

Katrin Connan

Events

Past events

3 - 25 Jul, 2026

The Marriage of Figaro · Savonlinna Opera Festival

3 - 25 Jul, 2026

The Marriage of Figaro · Savonlinna Opera Festival

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