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Figaro, who from the beginning of the opera was not completely sure about Susanna’s loyalty, now understands that his wife is faithful. L.) ‘The last part of the fourth act is the moment where everything changes. M.) ‘‘Contessa perdono’… the exquisitely divine music moment when the bully, amorous, egotistical, deeply flawed Count, begs forgiveness from the one person on this universe who could possibly grant it his one true love and wife…’ (Wallis Giunta) ‘Deh vieni, non tardar (Susannah)’ (Roberto Lorenzi) ‘I would say ‘Hai già vinta la causa’ (Count Almaviva)’ Rosina, as the new Penelope at her most vulnerable moment of self reflection, questions Love itself, which always protects, always trusts, always hopes, always perseveres…’ (Simona Mihai) ‘‘Dove sono’ has to take the crown for me. Performances run from 6-30 June, followed by a concert staging at London’s Barbican Centre on 4 July tickets can be found on our ‘Concerts and Projects’ page.Īmidst busy rehearsals, bass-baritone Roberto Lorenzi (Figaro) soprana Simona Mihai (Countess) and mezzo-soprano Wallis Giunta (Cherubino) took a moment to relate to us their favourite Figaro arias and parts of the score, as well as what makes Figaro ‘the opera of operas’… The Academy of Ancient Music brings Mozart’s beloved masterpiece Le Nozze di Figaro to the Grange Festival for six nights in June 2019, under the baton of Richard Egarr and in a sumptuous new production by Martin Lloyd-Evans.
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