LE NOZZE DI FIGARO

On October 23rd at 8.30 p.m. and 25th at 3.30 p.m. Le Nozze di Figaro by Wolfgang Amadeus Mozart will be played after 10 years of absence in a Brescia Theater. Direction, committed to the celebrated Mario Martone, will be proposed in a modern, stimulating, and dynamic interpretation coherently with the path marked by Graham Vick in last-season Don Giovanni.

Le Nozze di Figaro‘s cast will include the winners of the 65th As.Li.Co Contest for European young singers: scheduled as Contessa and Conte Federica Lombardi and Vincenzo Nizzardo; Lucrezia Drei as Susanna and Andrea Porta as Figaro. Beside them Marigona Qerkezi, Francesco Milanese, Matteo Macchioni, Ugo Traquini, Giulia Bolcato e Carlo Checchi. The singers will be directed by Master Stefano Montanari, musician whose baroque background and recent exploration of 18th and 19th century Italian opera have earned him numerous invitations to conduct at Italian Tradition Promoting Theaters.

The direction by Mario Martone of Mozart masterpiece, in tournée among OperaLombardia theatres. Mario Matrone is a successfull director of theatre and cinema productions, also involved in Opera setting, as Le Nozze di Figaro in Teatro San Carlo, Napoli, for instance, which we will see at Teatro Grande, in a new adapted version. Recently Martone says: “I’m pleased my setting could born again inside Circuito Lombardo, with a company made of singers that start a new career, after winning an important contest. The setting is supposed, alike happens generally in all my works – particularly in the trilogy of Mozart/Da Ponte – as a system precise and open at the same time, where each singer does not play following strict rules but “talks” with the direction scheme, searching inside himself and his memories, sensations, aiming for a live theatre, as requested, in my opinion, by Mozart music. Here we have young singers that could not know the adult season of love told with heartrending depth in Nozze di Figaro, but in themselves, as in all of us, illusion and disenchantment, erotic euphoria and power relations are emotional points, that once they are touched can flow as shadows and premonitions, and even lived experience. Each Mozart opera can be considered a knowledge path: I believe that seeing and listening to these young and very talented singers living this path will be lived as an emotional experience by the audience…”

.