Mozart’s classic comedy is the opera with everything

With a witty, fast-moving libretto and hum-along melodies, it’s easy to see why Mozart’s classic comedy continues to charm audiences the world over.

Musically, this is the ultimate ensemble opera, with brilliant trios, quartets and even a fantastic sextet laced through the score. Dramatically, it’s the opera with everything: lovers and liaisons, tricks and disguises, lust and laughter.

The Countess loves Count Almaviva, but he’s got designs on her servant Susanna. It’s Susanna’s wedding day, and Figaro has no plans of giving up his bride. In one crazy day of disguises, duplicity, desire and utter madness, the fiancés must foil the philandering noble’s seductive advances.

Young soprano Stacey Alleaume reprises her role as Susanna. Russian soprano Ekaterina Morozova is the Countess with Tommaso Barea as Figaro. Mario Cassi is the Count.

Sir David McVicar’s naturalistic staging opens a “comic cauldron of sex and social politics” (Limelight), where the comedy has a dark, sharp edge.

True to 17th-century design and detail, historical fashion specialist Jenny Tiramani clothes the aristocracy in ravishing silks and the servants in cornflower blue. David Finn’s radiant lighting streams through vaulted windows illuminating enormous rooms in sunlight and moonbeams as day turns to night.

Sung in Italian with English surtitles