The Marriage of Figaro

Music by Wolfgang Amadeus Mozart, with a libretto by Lorenzo Da Ponte • November 5, 8, 11, & 13, 2022
Benedum Center

Surprises. Disguises. Romantic Compromises.


Mozart’s The Marriage of Figaro is one of the most popular comic operas of all time. Filled with amusing cases of mistaken identity and romantic subterfuge, plus music by a Mozart at the height of his powers, The Marriage of Figaro has stood the test of time for centuries.
The Marriage of Figaro is a sequel to The Barber of Seville. The story opens several years later, in Count Almaviva’s palace near Seville, Spain. Rosina is now the Countess, but her husband has lost much of his interest in her and is a would-be philanderer. 

Figaro is in love with the Countess’s servant Susanna, who he plans to wed that very day. However, their employer Count Almaviva has his eye on Susanna. In fact, the Count intends to invoke the hated feudal practice of droit de seigneur—the infamous right of the lord to sleep with a commoner’s bride on her wedding night. 

Figaro, Susanna, and the Countess are understandably outraged at this possibility, and are determined not only to prevent it, but to teach the Count a lesson.

Music Director Antony Walker conducts.

The Marriage of Figaro is sponsored in part by a generous gift from Robert and Christine Pietrandrea.

Period production, owned by Lyric Opera of Kansas City

Susanna (Natasha Te Rupe Wilson) and Figaro (Michael Sumuel) in the garden, with Count Almaviva (Jarrett Ott) lurking behind them (photo credit: David Bachman)

Marcellina (Helene Schneiderman) and Susanna (Natasha Te Rupe Wilson) engage in a tug-of-war (photo credit: David Bachman)

Countess Almaviva (Nicole Cabell) and Cherubino (Jazmine Olwalia) with Susanna (Natasha Te Rupe Wilson) (photo credit: David Bachman)

Barbarina (Julia Swan Laird) and Figaro (Michael Sumuel) are overheard by Marcellina (Helene Schneiderman) (photo credit: David Bachman)

Dr. Bartolo (Ricardo Lugo), Marcellina (Helene Schneiderman), Count Almaviva (Jarrett Ott), and Don Basilio (Daniel O’Hearn) (photo credit: David Bachman)

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