04:00 pm | Nationaltheater


Wolfgang Amadeus Mozart

Prices L , € 163 /142 /- /- /- /- /- /11 Munich Opera Festival




Composer Wolfgang Amadeus Mozart. Libretto by Lorenzo Da Ponte based on the comedy La Folle Journée ou Le Mariage de Figaro by Pierre-Augustin Caron de Beaumarchais..

Opera buffa in four acts (1786)

recommended from 16 years

In Italian. With German and English supertitles. New Production.

Introductions take place 1 hour before the performance on the 1st tier in the anteroom to the royal box. 
Seating is limited, duration approx. 20 min.


Count Almaviva has himself abolished the iusprimae noctis, or "right of the lord". A fact, however, which does not prevent him from trying to seduce the Countess’s maid, Susanna, just before her marriage to Figaro. A clear case of sexual harassment. But, what happens when the culprit has plenty of money and power? Or, can even bend the law to suit their wishes? Le nozze di Figaro was more than just a comedy back in Mozart’s day. The world portrayed is brim full of criminal machinations and blatant fraud and chicanery by the powerful and almighty. Lorenzo Da Ponte’s libretto based on the scandalous play by the French revolutionary, Beaumarchais, leads the colourful characters of a comedy of the classes into situations so hopeless that emptiness and the desire to die spread to all quarters. And so the Count’s love for his new wife following their marriage suddenly goes ice-cold, although he has just recently spectacularly freed her from the clutches of her custodian. The resourceful Figaro of all people had helped him here, and in gratitude, the Count now employs him as his personal valet, perhaps as questionable compensation for Susanna’s harassment. Hardly conquered, the countess finds herself neglected and longs for either Almaviva's love or her own death. It takes a great deal of intrigue and counter-intrigue to disempower the encroaching count and allow Susanna's wedding to her beloved Figaro to take place after all.

With much love for tempo and situation comedy, the staging by Evgeny Titov examines the question as to why humanity proves time and again how fragile it is and where the weak points are. For this, the immense versatility of Mozart’s music unfurls its very own dynamic in the unleashing of jealousy and desire.


  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

Süddeutsche Zeitung

„Das junge Gesangsensemble bot große Glamour-Oper.“

von Helmut Mauró


„Das Debüt von Evgeny Titov an der Bayerischen Staatsoper war ein Erfolg gefeiert mit tosendem Beifall.“

Theater der Zeit

„In einem Wort: Zündend!“

von Teresa Pieschacón Raphael


„Stefano Montanari steuert mit dem präzise wie erregend spielenden Bayerischen Staatsorchester Feinschliff, Brio und Brillanz auf höchstem Niveau bei.“

von Roland Dippel

Augsburger Allgemeine

„Münchens neuer Figaro glänzt als Ensemble-Leistung.“

von Stefan Dosch


„Sehen lassen kann sich nicht nur das erfrischende Regiekonzept, an dem das Publikum ersichtlich Spaß hat.“

von Oliver Bernhardt

Augsburger Allgemeine

„Herausragende junge Sängerdarsteller machen die Neuinszenierung von Mozarts Oper zum mitreißenden Musiktheater.“

von Stefan Dosch