Albert Storace delves into how the popular comic opera Le nozze di Figaro, which is being staged at the Manoel Theatre as from today, came into being

Le nozze di Figaro is the first of the famous trilogy of operas which was the fruit of the collaboration between Mozart and the Italian poet, librettist and teacher Lorenzo da Ponte (1749-1838). The famous trilogy would have become a tetralogy had an earlier unfinished opera by Mozart, Lo sposo deluso (1783), in which Da Ponte is believed to have been involved, seen the light of day.

Le nozze di Figaro was premiered in Vienna on May 1, 1786, followed by Don Giovanni (Prague, October 29, 1787) and Così fan tutte (Vienna, January 26, 1790).

Philip Walsh will conduct the Malta Philharmonic Orchestra.

This opera is considered the best comic opera ever written and its continued popularity, success, as well as being in the top 10 most performed operas of all time, prove that.

Now the adage “Love makes the world go round” is well known and all too often a gentle reminder that it is also sex that does it. Otherwise, there would be no survival of the species whether coated in love or not. Therein lies the human appeal of this work, at least one aspect which makes it appealing.

Right from the overture one can easily guess what is to come: a fast-moving, witty and sharp plot. The opera centres round real love, philandering, marital infidelity and pitting a servant’s sharp wits against a master who still thinks he could have his way with Figaro’s betrothed. These sexual undertones which often become overtones are at the base of the confusion and complicated relationships caused by sex.

An aspect not to be ignored is that Mozart and Da Ponte were dealing with a very contemporary subject which had rather daringly strong political undertones. The plot is based on another trilogy, the so-called Figaro plays of Pierre-Augustin Caron de Beaumarchais (1732-99).

The first play served as source for the libretto to Paisiello’s Il barbiere di Siviglia (St Petersburg, 1782) and was also set to music by Niccolò Isouard (at the Manoel in 1796) until both were eclipsed by Rossini’s version in 1816.

Mozart and Da Ponte were dealing with a very contemporary subject which had rather daringly strong political undertones

The second play, Le marriage de Figaro, attracted attention even before the Mozart/Da Ponte creation. The play’s far-from-veiled criticism of the aristocracy angered King Louis XVI who banned it, although Queen Marie Antoinette was in disagreement. It was only after some modifications that the king lifted the ban in 1784 but, in the meantime, Beaumarchais had his play privately performed several times.

The third play, La mère coupable, never really got off the ground but, like its companion plays, is in many instances based on real-life characters Beaumarchais met during his colourful and adventurous life in France and Spain (he was a spy at one time).

Covent Garden artistic director Jack Furness

Some are even autobiographical, for example Cherubino’s frustration recalls that of the playwright himself who when very young contemplated suicide after the girl he was in love with was forced to marry another man.

Mozart’s opera turned out to be popular even with many aristocrats who never even imagined what was to befall the social order which the French Revolution was to change forever.

The battle of wits between two strong characters like the Count and Figaro is manifest and so is the common jealousy which marks them. The women reach out over rigid social barriers by uniting in solidarity against the perfidious machinations of the Count. There is humanity all over the place such as when the ladies realise that the budding adolescent Cherubino is not to be treated like a living, amusing toy anymore.

The opera’s appeal is timeless. Officially, the droite de seigneur has been abolished, yet people in power try to exercise it and use it if they could get away with it. Take modern-day arrogant bosses, bullying workmates, casting couches and other nefarious means to achieve one’s illicit dreams and power-hungry oligarchs who ride roughshod over the weak. Unfortunately, like the poor, they will always be with us and injustice rears its ugly head all the time.

■ Le nozze di Figaro will be performed at the Manoel Theatre today, on Thursday, Saturday (already sold out) and on Monday at 7.30pm. The local and international cast consists of Pauls Putnins (Figaro), Christian Bowers (Count Almaviva), Ruth Sammut Casingena (Countess), Claire Debono (Susanna), Clare Ghigo (Cherubino), Kinga Dobay (Marcellina), Francesca Aquilina (Barbarina), Emilo Martucci (Bartolo) and Richard Roberts (Basilio). Directly from Covent Garden is artistic director Jack Furness. The Malta Philharmonic Orchestra will be directed by Philip Walsh.

For bookings visit bookings@teatrumanoel.com.mt or www.teatrumanoel.com.mt.