Le Nozze di Figaro (2012)

Countess tries to reform her philandering husband with the aid of 3 servants just before 2 of them are to marry.


Lorenzo da Ponte (libretto by), Beaumarchais (after)


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Credited cast:
Vito Priante Vito Priante ... Figaro
Lydia Teuscher Lydia Teuscher ... Susanna
Andrew Shore Andrew Shore ... Bartolo
Ann Murray Ann Murray ... Marcellina
Isabel Leonard Isabel Leonard ... Cherubino
Alan Oke Alan Oke ... Don Basilio
Audun Iversen Audun Iversen ... Count Almaviva
Sally Matthews Sally Matthews ... Countess Almaviva
Nicholas Folwell Nicholas Folwell ... Antonio
Colin Judson Colin Judson ... Don Curzio
Sarah Shafer Sarah Shafer ... Barbarina
Ellie Laugharne Ellie Laugharne ... 1st Bridesmaid
Katie Bray Katie Bray ... 2nd Bridesmaid
Rest of cast listed alphabetically:
The Glyndebourne Chorus The Glyndebourne Chorus ... Chorus
Orchestra of the Age of Enlightenment Orchestra of the Age of Enlightenment ... Themselves - Orchestra


Countess tries to reform her philandering husband with the aid of 3 servants just before 2 of them are to marry.

Plot Summary | Add Synopsis


Comedy | Drama | Musical




UK | France



Release Date:

June 2012 (UK) See more »

Also Known As:

Glyndebourne - Mozart: Le nozze di Figaro See more »

Company Credits

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Technical Specs



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User Reviews

Entertaining and musically outstanding production
22 January 2015 | by TheLittleSongbirdSee all my reviews

Le Nozze Di Figaro is a masterpiece of opera and one of Mozart's finest(personal favourite alternates between it and Don Giovanni), and while there are better productions on DVD this Glyndebourne production was still very entertaining.

It is cleverly updated to the 60s, and still looks good, great even and the beautiful and intimate camera work helps. The sets are imaginative and the details they have(especially in the architecture) are remarkably real. If there was a standout, it would be the gorgeous wedding chamber. The lighting's rich and warm while never gaudy and the costumes suit the updated period very authentically without falling into trashy camp. Michael Grandage's stage direction is always entertaining and intelligent, in that it's true to the 60s setting while sticking true to the traditional spirit of the original opera setting, with quirky touches(the sports car during the overture). The only reservation being that the political aspects of the opera(social and sexual) could have been explored more and there are a few instances where the humour is a tad subdued. The production actually though is constant fun with most of the humorous parts hilarious, broad without being vulgar, but like with Dove Sono and the finale to Act 4 there is an emotional core too. But it's in the characterisation where the staging most excels with all the characters sharply defined, even in the supporting roles.

From a musical perspective, the production is outstanding with very stylish orchestral playing, with shimmering strings and remarkably vivid woodwinds(the horns). The chorus sing warmly and while their stage direction is not given anywhere near the same amount of detail as the leading and supporting roles they are hardly stolid either. Robin Ticcati's conducting is expansive and incisive, always giving energy while allowing the drama and comedy to resonate. The cast and their performances are superb, especially good were Vito Priante as a hearty and soulful Figaro with a rich voice(his Act 4 aria has so much fire and bite it's scary) and Sally Matthews as a poised and poignant Countess, singing with gleaming beauty and immaculate phrasing. Lydia Teuscher's Susanna is immensely charming and witty and she enjoys a very natural chemistry with Priante while Isabel Leonard is an appealingly impetuous and refreshingly sassy Cherubino, singing with much warmth(especially in Voi Che Sapete). Audun Iversen is a bit of a blusterer vocally but his Count is powerfully arrogant but also conflicted, never buffoonish. All the supporting roles are very well taken especially Alan Oke, who is hilarious and lizard-like, if a touch too sleazy at times, Basilio. Ann Murray looks and sounds wonderful as Marcellina and while a little worn vocally Andrew Shore is a dramatically robust Bartolo, a role that suits him well. Sarah Schafer's Barbarina is very sweet and thankfully not in a sugary way.

Overall, entertaining and musically outstanding Glyndebourne production of an operatic masterpiece. 8/10 Bethany Cox

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