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The Royal Opera

  • Jakub Hrůša

    Music Director Designate

  • Oliver Mears

    Director of Opera

The Marriage of Figaro

OPERA IN FOUR ACTS

Wednesday 17 June 2026 6.45pm

The 429th performance by The Royal Opera at the Royal Opera House.

Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Approximate Timings

The performance lasts approximately 3 hours 25 minutes, including one interval

  • Acts I and II

    100 minutes

  • Interval

    30 minutes

  • Acts III and IV

    85 minutes


Credits

  • Music

    Wolfgang Amadeus Mozart

  • Libretto

    Lorenzo da Ponte

    after La Folle Journée, ou Le Mariage de Figaro by Pierre-Augustin Caron de Beaumarchais

  • Conductor

    Bertrand de Billy

    replaces Giedrė Šlekytė

  • Director

    David McVicar

  • Revival and Movement Director

    Leah Hausman

  • Designer

    Tanya McCallin

  • Lighting designer

    Paule Constable

The edition of Le nozze di Figaro used in these performances is published by Bärenreiter-Verlag Kassel, and edited by Ludwig Finscher. Performed by arrangement with Faber Music Ltd.

Cast

  • Figaro

    Alex Esposito

  • Susanna

    Louise Alder

  • Count Almaviva

    Andrey Zhilikhovsky

  • Countess Almaviva

    Masabane Cecilia Rangwanasha

  • Cherubino

    Svetlina Stoyanova

  • Bartolo

    Carlo Lepore

  • Marcellina

    Rosie Aldridge

  • Don Basilio

    Gregory Bonfatti

  • Antonio

    Mark Saberton

  • Don Curzio

    Colin Judson

  • Barbarina

    Marianna Hovanisyan

  • First Bridesmaid

    Caroline Modiba

  • Second Bridesmaid

    Miranda Westcott

  • Actors

    Harold Addo

    Jean-Pierre Blanchard

    Michael Brazil

    Lucy Brenchley

    Jane Evers

    Iliana Flade

    Jamie Francis

    Irene Hardy

    Jamal Lowe

    Mette Nilsen

    Josh Thompson

    Sirena Tocco

Marianna Hovanisyan is a Jette Parker Artist

Chorus and Orchestra

  • Chorus

    Royal Opera Chorus

  • Chorus Director

    William Spaulding

  • Orchestra

    Orchestra of the Royal Opera House

  • Concert Master

    Magnus Johnston

  • Fortepiano Continuo

    Christopher Willis

Production credits

  • Music preparation

    Susanna Stranders

    Christopher Willis

    Nick Fletcher

  • Assistant Director

    Harriet Taylor

  • Assistant to the Movement Director

    Sirena Tocco

  • Language coach

    Alessandra Fasolo

The Royal Opera

  • Patron

    HM The King

  • Music Director Designate

    Jakub Hrůša

  • Director of Opera

    Oliver Mears

  • Director of Casting

    Peter Mario Katona

  • Associate Director

    Netia Jones

  • Administrative Director

    Cormac Simms

Synopsis

Count Almaviva lives with his Countess on their estate near Seville. The Count has his eye on his wife’s maid Susanna, who is about to marry the Count’s manservant, Figaro. The Count plans to seduce Susanna in the tradition of the droit de seigneur, whereby an aristocrat could bed any female servant on her wedding night. Figaro is not happy with this. Cherubino, the Count’s young page, has a crush on the Countess, who protects him. But the Count has just dismissed Cherubino from his service after the page was found with the gardener Antonio’s daughter, Barbarina.

ACTS I AND II

Susanna and Figaro prepare their new bedroom. Figaro decides he must foil his master’s attempt to seduce Susanna. Marcellina has a legal claim on Figaro and plots with Doctor Bartolo to prevent Figaro’s wedding. Cherubino comes to see Susanna in a panic, but hides when the Count arrives to solicit a meeting with Susanna that night. The Count hides when Don Basilio arrives to persuade Susanna to give in to the Count. Don Basilio gossips about Cherubino’s infatuation with the Countess. The Count angrily bursts out of hiding and discovers Cherubino. Into the confusion come Figaro and the entire household. They stage a scene to praise the Count for giving up the droit du seigneur. Annoyed, the Count prevaricates about Figaro’s wedding and tells Cherubino he must join the army at once.

In the Countess’s apartment, the Countess, Susanna and Figaro plan a trap for the Count, using Cherubino disguised as a woman. The Countess flirts with Cherubino, who locks himself in the dressing room when the Count unexpectedly turns up. The Count is suspicious and goes to find an axe with which to break the locked door. While he is away, Cherubino escapes, and Susanna takes his place in the dressing room to fool the Count. But Cherubino is seen escaping by Antonio. Figaro tries to explain everything, but his story seems increasingly far-fetched. Marcellina arrives with her claim, and the Count is delighted to have an excuse to stop Figaro’s wedding plans.

INTERVAL

ACTS III AND IV

The Count is increasingly confused. Susanna and the Countess plan Susanna’s night-time assignation with the Count – with the Countess disguised as Susanna. At first, the Count falls for the trap, but a remark of Figaro’s makes him suspicious. Barbarina smuggles Cherubino back disguised as a girl. Marcellina drops her claim when she and her former lover Bartolo discover Figaro is their long-lost son. Cherubino is discovered and his earlier escape exposed. But Barbarina knows secrets with which to blackmail the Count and save Cherubino. The Count commands they all celebrate Figaro’s wedding, secretly expecting that he will meet Susanna later.

Figaro believes that Susanna is unfaithful and comes to the garden that night to get revenge, but eventually realizes the real plan of the Countess and Susanna. There are a succession of mistaken identities, confusions and misunderstandings. But out of them, the Count’s behaviour is finally exposed and he seeks the forgiveness of his wife.

Guidance

Suitable for ages 5+

Children under the age five are not permitted into our theatres. Children over age five must have their own ticket and sit next to an accompanying adult.

Language

Sung in Italian with English surtitles, which are displayed on screens above the stage and around the auditorium.

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Further information

Digital Cast Sheets

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria.

Guidelines

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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