Preloader Operavision
La Monnaie / De Munt
21.03.2020 at 19h30 CET
Saturday, March 21, 2020 - 19:30

La Monnaie / De Munt

Le nozze di Figaro

Count Almaviva in the eye of the #MeToo storm

Operas | Mozart

It is of all times and yet no longer of this time. On the wedding day of Figaro and Susanna, Count Almaviva, their employer, is set on making a conquest of the bride-to-be. Can the young lovers disentangle the web of intrigue?


La Monnaie takes up the challenge to stage the three operas by Wolfgang Amadeus Mozart and the librettist Lorenzo Da Ponte together in the form of a trilogy. While each of these masterpieces can be viewed independently of the others, the directors Clarac-Delœuil > le lab and conductor Antonello Manacorda have reimagined Le nozze di Figaro, Così fan tutte and Don Giovanni jointly as one single work. A human comedy in three parts, presenting a large number of interlinked characters and plots.

Sung in Italian

The live performance will be subtitled in English. French and German subtitles available soon after the livestream with possibility of auto-translation into more than a hundred other languages.

Available from
21.03.2020 at 19h30 CET

Available until
21.09.2020 at 12h00 CET

Il Conte di AlmavivaBjörn Bürger
La Contessa di AlmavivaSimona Šaturová
SusannaSophia Burgos
FigaroRobert Gleadow
CherubinoGinger Costa-Jackson
MarcellinaRinat Shaham
BartoloAlexander Roslavets
Don Basilio & Don CurzioYves Saelens
BarbarinaCaterina Di Tonno
AntonioRiccardo Novaro

MusicWolfgang Amadeus Mozart
TextLorenzo Da Ponte
ConductorAntonello Manacorda
Set DesignerRick Martin
Lighting DesignerChristophe Pitoiset
Chorus MasterAlberto Moro
DramaturgLuc Bourrousse
Video DirectorJean-Baptiste Beïs & Timothée Buisson
Directors and costumesJean-Philippe Clarac & Olivier Deloeuil (Clarac-Deloeuil > Le Lab)
Orchestra and ChorusLa Monnaie Symphony
Artistic collaboratorLodie Kardouss
GraphicsJulien Roques

Act I

On the day of his wedding to Susanna, the Countess Almaviva’s maid, the valet Figaro assesses the Count’s private gym that will become their bedroom after the ceremony. When he finds out that the Count is wooing Susanna, Figaro promises to seek revenge. In the Spanish embassy, the Count - who is a Spanish diplomat - realises that his sexually harassing behaviour has caught up with him and is hitting the headlines. Arriving in the parking lot of his building, the Count announces to his right-hand man Basilio that he has been transferred to London.

Bartolo arrives in the Commander’s notarial office, where he works. Marcellina has come to consult him concerning a disagreement with Figaro. He has committed to marrying her, should he not be able to repay the sum he owes her.

When she leaves the office, Marcellina gets into an argument with Susanna in the building staircase. In the gym, Susanna meets Cherubino, Giovanni and Elvira’s teenage son. He manages to steal a scarf belonging to the Countess, with whom he is in love. The Count arrives then and discovers the young man who’s been hiding.

To avenge the Count’s actions, Figaro shepherds a group of #MeToo demonstrators under his apartment windows. He then joins Susanna, the Count and Cherubino in the gym.

Act II

In her bathroom, the Countess deplores the scandalous revelations concerning her husband and laments her crumbling marriage.

Later, Susanna reveals that the Count has tried to seduce her. Figaro joins them and announces his plan for revenge. They will disguise Cherubino as a girl to lure the Count and catch him red-handed.

When the Count knocks on his wife’s door, Cherubino runs to hide in the bathtub and Susanna holes up in the dressing room. Hearing noise in the bathroom, the Count raises his voice against his wife, who firmly refuses to open the bathroom door. He hits her and they leave. Susanna helps Cherubino sneak out through the bedroom window, taking her place in the bathroom. Armed with a firefighter’s axe, the Count returns to the room with his wife, determined to open the bathroom door. The spouses discover Susanna, now accompanied by several vindictive women, all determined to ridicule the Count. Figaro arrives followed by Alfonso, who announces that he has seen someone jump out of the window.

In turn, Marcellina, Basilio and Bartolo enter the Countess's room demanding that Figaro keep his promises. An argument ensues.


In his gym, the Count remembers the events he has just experienced. On the stairs, the Countess pushes Susanna into the gym so that she invites the Count to a tête-à-tête that same evening. Susanna announces to Figaro that he has won his trial in advance. Surprising their discussion, the Count is furious. At the same time, Barbarina disguises Cherubino as a cleaner in order to hide his presence from the Count. Alone in her room, the Countess worries that Susanna won't come back. Now driven by a desire for revenge, she decides to join the #MeToo movement. Before leaving, she slips money into an envelope so that Susanna can repay Figaro’s debt. In the Commander’s notarial office, the Count presides over the trial between Marcellina and Figaro. When he talks about his origins, Marcellina realizes that he is her abandoned child. Bartolo admits to being his father. Susanna enters with the Countess’s money but quickly understands that the trial is cancelled.

The Countess and Susanna write a letter to the Count to ask him on a date. A group of women arrives denouncing the Count’s sexist acts, Barbarina and a disguised Cherubino among them. The Count enters the room and unmasks Cherubino once again. When Figaro arrives, a nuptial march announces Figaro’s marriage to Susanna and Marcellina’s to Bartolo. The Countess catches her husband intercepting the envelope Susanna gave her for the evening date. The Count leaves the room in a fury. His wife is devastated by pain.

Once night falls, Figaro meets Barbarina who reveals that she has to give Susanna a pin from the Count. Figaro is convinced that Susanna is cheating on him, but Marcellina defends the young woman’s innocence.

Alone on the roof terrace, Figaro ruminates on the alleged infidelity of women. Meanwhile, Susanna and the Countess exchange their clothes. Figaro thinks that Susanna is singing to lure the Count. A woman dressed as the Countess appears and Figaro immediately recognizes his wife’s voice. He understands everything and leads Susanna into the Almaviva couple's bedroom. The Count enters, spotting the one he believes to be his wife in bed with Figaro. He calls for help. All the protagonists gradually appear in their room. The Countess is last to enter. She forgives her husband his escapades. Everyone leaves to celebrate the wedding, except the Count and the Countess, who go to bed full of resentment.