Mozart Le nozze di Figaro
Opera buffa in four acts
Music by Wolfgang Amadeus Mozart (1756-1791)
Libretto by Lorenzo Da Ponte, based on The Marriage of Figaro by Pierre-Augustin Caron de Beaumarchais
Premiere: Vienna, Burgtheater, 1 May 1786
It is one of those theatres, century-old places that have nurtured a spirit, a “house” style for so many years, whose orchestra is made up of musicians from one of the most mythical groups (in our case, nothing less than the Vienna Philharmonic!), standing in a city where the air itself seems to carry the music, and where you must see a performance of an opera by Mozart or Richard Strauss once in your life. For the first time, the Vienna Staatsoper will be giving a unique performance of Mozart’s Marriage of Figaro in the Principality, and this a mere few days after having premiered the opera in its famous theatre. Shown in a semi-staged version, this Marriage will be conducted by Philippe Jordan, and his expert performers will let us savour the charms of this particularly idiomatic Viennese style as never before. Thanks to them, Mozart’s music will regain all its poetry, poignancy and its deepest musicality. Even if the spirit of the original comedy is well known, this is an event not to be missed under any circumstances. Rediscover unter practically ideal conditions the strength of feeling and the poetic subtlety with which Mozart’s music empowered Beaumarchais’ play!
CONDUCTOR | PHILIPPE JORDAN
MISE EN ESPACE | KATHARINA STROMMER AND LISA PADOUVAS
WIENER STAATSOPER ORCHESTRA
Philippe Jordan
What does Monte Carlo mean to you?
I have a special relationship with Monte Carlo in more ways than one. Among other things, because my father [Ed.: the late Swiss conductor Armin Jordan] conducted the Orchestre Philharmonique de Monte-Carlo –not least, he recorded the music for Hans-Jürgen Syberberg’s Parsifal film with this orchestra, in which he also portrayed Amfortas. Incidentally my first, intense encounter with Parsifal. And: there were talks about my taking over the OPMC! But in the end Paris prevailed…
How do you sense the heritage of the Viennese Classical period in Austria, how is it imparted?
When working with the wonderful Orchestra of the Vienna Staatsoper, you can always feel how much the music from the Viennese Classical period is anchored in the DNA of these musicians: you notice it in the way they play, in their sound and especially in their unique phrasing. They all know how to phrase collectively, how to breathe and feel together: that is cultivated in Vienna, in Austria, from an early age and passed on and handed down in this orchestra over a long period of time.
How do you cultivate this heritage?
Mozart remains the foundation of the Vienna Staatsoper’s extensive repertoire, and everything else is built upon it: also how you play Verdi and Wagner, or how you develop the ensemble of singers. Therefore, the preservation of this style remains one of our top priorities. And our idea of reviving the concept of a Mozart ensemble aims at establishing a consistent style for the Staatsoper in general.
The Orchestra of the Vienna Staatsoper…
… has an incredible personality and is characterised by the magnificent Viennese sound –the Wiener Klang–, i.e. a soft and warm tone that emanates from, among others, unique instruments such as the Viennese horn, oboe and timpani. Therefore, this orchestra’s sound is by nature far closer to Mozart’s times than that of most other groups.One often associates it with the Romantic period, but the references to the Classical period are almost stronger.
How do you see the ensemble of the Vienna Staatsoper and how do you look after it?
The outstanding ensemble of singers is a cornerstone of our institution! Together, we spend much time at music rehearsals: there, we work on articulation, colours, dynamics and the text. Mozart is also incredibly important and healthy for what we call our “musical hygiene”!
A tip for Cecilia Bartoli in her new position as director of an opera house?
Stay the way you are!