La folle journée ou le mariage de Figaro (1784) is an outstanding literary material, conceived by the master Pierre Augustin Caron de Beaumarchais (1732–1799), which was a genuine dynamite for the ruling regime of its time as well. Not only was Beaumarchais the first writer to become rich thanks to a successful literary work, but he also turned its theatre premiere into an extraordinarily memorable event, attracting large number of audiences. Figaro grew into a harbinger of the impending social changes, which later resulted in what was referred to as the French Revolution, so that eventually even Napoleon himself described this work as a »revolution in action«. At that time the performances, based on such literary materials, were strictly forbidden, although they were allowed to be published by the Emperor. This is how Lorenzo da Ponte (1749–1838), the librettist of the opera, composed by Wolfgang Amadeus Mozart (1756–1791), was granted a permission to its creation as long as it did not contain anything that could damage the reputation of the theatre, operating under the patronage of his Majesty. Luckily enough, Mozart, who had no political interests, was rather than by its related content note more attracted by its perfected story and refined characters. Da Ponte not only deprived his libretto of any social and political references, but also reduced the number of the persons involved. Thus only four acts were kept and owing to the composer’s view of the world the characters became much merrier as well. Mozart’s The Marriage of Figaro, which was first performed with great success in Vienna, in 1786, is a superior work of its era and a musical masterpiece for all times. Since it is also a synonym for a comic opera, we may as well maintain that – apart from Verdi’s Falstaff or Rossini’s The Barber of Seville – it is the most perfect piece created within this genre. Mozart composed a piece of music, literally revolving its sharp and profane action - lasting for short twelve hours - around a lively and witty interlacement of different peripteias. Figaro and his fiancée, the Countess’s maid Susanna, are planning a happy future together, when the Count decides to exercise his »droit tu seigneur« (the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her). This causes a whole host of complications as the Countess and Susanna unite hatching a plot against the Count, who has owned himself a well deserved punishment.
Staging the opera as her debut performance in our theatre was Yulia Rochina, who had already collaborated with the Slovenian Chamber Music Theatre, Cankarjev dom and the Maribor Opera. Set and costume design was entrusted to her permanent collaborator, Vasilija Fišer.
Text: Tatjana Ažman