
Jakub Hrůša
Music Director
Oliver Mears
Director of Opera
OPERA IN FOUR ACTS
Friday 26 June 2026 6.45pm
The 431st 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.
The performance lasts approximately 3 hours 25 minutes, including one interval
100 minutes
30 minutes
85 minutes
Wolfgang Amadeus Mozart
Lorenzo da Ponte
after La Folle Journée, ou Le Mariage de Figaro by Pierre-Augustin Caron de Beaumarchais
Bertrand de Billy
replaces Giedrė Šlekytė
David McVicar
Leah Hausman
Tanya McCallin
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.
Alex Esposito
Louise Alder
Andrey Zhilikhovsky
Masabane Cecilia Rangwanasha
Svetlina Stoyanova
Carlo Lepore
Rosie Aldridge
Gregory Bonfatti
Mark Saberton
Colin Judson
Shafali Jalota
Caroline Modiba
Miranda Westcott
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
Royal Opera Chorus
William Spaulding
Orchestra of the Royal Opera House
Magnus Johnston
Christopher Willis
Susanna Stranders
Christopher Willis
Nick Fletcher
Harriet Taylor
Sirena Tocco
Alessandra Fasolo
HM The King
Jakub Hrůša
Oliver Mears
Peter Mario Katona
Netia Jones
Cormac Simms
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.
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.
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.
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.
Sung in Italian with English surtitles, which are displayed on screens above the stage and around the auditorium.
Exceptional philanthropic support from
Royal Ballet and Opera Principal The Julia Rausing Trust
Generous philanthropic support from
Huo Family Foundation
Production generously supported by

Rolex, Principal Partner, The Royal Opera
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.
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.
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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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