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© Wiener Staatsoper
The Marriage of Figaro
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January 2026 | ||||||
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The Marriage of Figaro – Wolfgang Amadeus Mozart | Opera
Commedia per musica in four acts
Libretto by Lorenzo Da Ponte
after Pierre Augustin Caron de Beaumarchais
Acts 1 & 2 – approx. 100 min
Intermission – approx. 30 min
Acts 3 & 4 – approx. 80 min
Storyline
Act 1
The morning of Susanna and Figaro's wedding day. Figaro misses the room that Count Almaviva has designated for him and Susanna. Susanna does not agree with the choice of room, which is located between the Count's and Countess's chambers.
The Count, she explains to Figaro, regrets having abolished the lordship on his estates, which guarantees the lord the first night with every new bride. Now he is making advances to her. He has chosen the room to be close to Susanna. Figaro swears to thwart the count's plans.
Marcellina wants to assert old claims on Figaro. She granted him a loan at the time. If he cannot repay it, he must marry her, according to the contract. Doctor Bartolo supports his housekeeper Marcellina to take revenge on Figaro. Bartolo once wanted to marry the now Countess himself, but the Count beat him to it - with Figaro's support.
The page Cherubino asks Susanna for help: the Count caught him in Susanna's cousin Barbarina's room the night before. Now he wants to dismiss him. Susanna is told to ask the countess to put in a good word for Cherubino. When the count enters, Cherubino hides. From his hiding place, he hears the Count harassing Susanna. When Don Basilio's voice is heard, the Count also has to hide to avoid being discovered in a compromising position. He chooses Cherubino's hiding place of all places. The page manages to save himself in time and is hidden under a cloth by Susanna.
Don Basilio woos Susanna for the Count. When he mentions that everyone in the castle has noticed Cherubino's infatuation with the Countess, the Count emerges angrily from his hiding place. Susanna and Basilio both try to placate the Count. The Count demonstrates how he caught Cherubino with Barbarina the previous evening. He lifts the cloth under which Cherubino is hiding and discovers him again.
Figaro leads in servants who thank the Count for his generosity in abolishing the "right of the first night". Figaro asks the Count to put the white veil on Susanna as a sign of chastity. The Count promises to perform the ceremony, but asks for a postponement.
Act 2
The countess mourns the count's love. She asks Susanna to report on the Count's attempts at seduction. Figaro plans a double intrigue. Basilio is to deliver a letter to the Count accusing the Countess of having an affair. At the same time, Susanna is to grant the Count a rendezvous, to which Cherubino is to be sent in women's clothing in order to dupe the Count.
Susanna and the Countess are about to disguise Cherubino when the Count knocks on the door. Cherubino is quickly hidden in a cabinet and the door is locked. Susanna also hides. The Count, enraged by Figaro's ticket, suspects that his wife is a lover. A noise in the cabinet seems to confirm his suspicions and he demands that the door be opened. The countess explains that Susanna is trying on her wedding dress there and refuses. The Count wants to fetch tools to force the door open and forces the Countess to accompany him. He locks the door to the countess's room from the outside. Susanna fetches Cherubino from the cabinet. The page saves himself by jumping from the balcony into the garden. Susanna locks herself in the cabinet.
The countess confesses to her husband that Cherubino is in the cabinet. The Count is furious and accuses her of infidelity. Susanna emerges from the cabinet. The Count is confused, the Countess explains that she was only testing him. The compromising note was written by Figaro.
Figaro announces the musicians for the wedding. The Count asks him about the ticket. Figaro feigns ignorance.
The gardener Antonio, Barbarina's father, comes running angrily: Someone has jumped from the balcony into the garden and trampled his carnations. He suspects Cherubino. Figaro explains that he jumped. Antonio then wants to give him the paper that Cherubino lost when he jumped. The Count takes the paper. It is the page's officer's license. With the help of Susanna and the Countess's whispers, Figaro finds the right explanation: the seal is missing from the patent, which is why the page gave it to him.
Marcellina, Bartolo and Basilio demand that Figaro honor his contract with Marcellina. The Count promises to look into the matter.
Act 3
The countess and Susanna are now planning their own intrigue. Susanna is to ask the Count for a rendezvous, and the Countess wants to go in her place. Figaro is not involved.
The Count pronounces his verdict: Figaro must pay Marcellina the sum demanded or marry her. By chance, however, it turns out that Figaro is Marcellina's son, who was thought to be lost. The father is Doctor Bartolo. Susanna arrives and is made aware of the new family circumstances. The planned wedding is to become a double wedding, as Marcellina and Bartolo now also want to marry.
Barbarina wants to disguise Cherubino as a girl. Unrecognized, he is to deliver flowers to the countess with her and other girls. The countess is at odds with the fate that has put her in such an unworthy position. Antonio has found Cherubino's hat and concludes that the page must still be in the castle. The Countess and Susanna write an invitation to the Count. Susanna wants to meet him in the garden at night. He is to send back the seal, a pin, as a sign of consent.
When Cherubino arrives at the countess's house with the girls, he is exposed by Antonio. Barbarina reminds the furious count that he has promised to fulfill her every wish in return for caresses. Now she wants Cherubino to be her husband. Susanna uses the ceremony to prepare for the double wedding to slip the Count the letter.
Act 4
Barbarina has lost the pin that the Count gave her for Susanna. She unsuspectingly tells Figaro about the Count's commission. Figaro, whom the women have not told, now suspects Susanna of infidelity. He cries to Marcellina. She believes in Susanna's innocence and warns her of Figaro's anger. Figaro has summoned Bartolo and Basilio to the garden as witnesses to Susanna's infidelity.
Susanna and the Countess have arrived in the garden in their changed clothes. Susanna knows of Figaro's jealousy and sings a love song to provoke him, which the hidden Figaro interprets as being addressed to the Count.
Cherubino comes along and sees the Countess disguised as Susanna. He wants to take the opportunity to demand a kiss from the pretend Susanna. While the Countess is still defending herself against Cherubino, the Count arrives. Cherubino disappears and the Count tries vehemently to get his disguised wife, whom he believes to be Susanna. Only when he hears voices does he let her go.
Figaro recognizes Susanna, disguised as the Countess, by her voice. However, he pretends to think she is the countess and woos her fiercely until she lashes out at him. Figaro explains things to Susanna and the two make up.
To provoke the Count, Figaro and the disguised Susanna stage a love scene. The Count screams for help. In the dark, he tracks down Cherubino, Barbarina and Marcellina. Figaro and Susanna feign forgiveness and the Count rebuffs them. When the Countess reveals her disguise, the Count sees through the situation. He in turn begs the countess for forgiveness, which she grants him.
Everyone celebrates the end of the great day and the beginning of the wedding feast.
Figaro recognizes Susanna, disguised as the countess, by her voice. However, he pretends to think she is the countess and woos her fiercely until she lashes out at him. Figaro explains things to Susanna and the two reconcile.
To provoke the Count, Figaro and the disguised Susanna stage a love scene. The Count screams for help. In the dark, he tracks down Cherubino, Barbarina and Marcellina. Figaro and Susanna feign forgiveness and the Count rebuffs them. When the Countess reveals her disguise, the Count sees through the situation. He in turn asks the countess for forgiveness, which she grants him.
Everyone celebrates the end of the great day and the beginning of the wedding feast.
Program and cast
Count Almaviva – Huw Montague Rendall
Countess Almaviva – Adriana Gonzalez
Susanna – Serena Sáenz
Figaro – Riccardo Fassi
Cherubino – Patricia Nolz
Conductor – Adam Fischer
Production – Barrie Kosky
Set – Rufus Didwiszus
Costumes – Victoria Behr
Lighting – Franck Evin
Assistant Set Designer – Jan Freese
Vienna State Opera
Public Transport
Subway lines: U1, U2, U4
Trams: 1, 2, D, J, 62, 65
Buses: 59A
Local Railway: Badner Bahn
Stops: Karlsplatz / Opera
Taxi stands are available nearby.
Parking
Parking is only € 6, - for eight hours!
The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.
Important: In order to get the discount, please draw a ticket and do not use your credit card when entering the garage!
After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.
The machines accept coins and bills up to 50.- Euro. Parking time longer than 8 hours will be charged at the normal rate.
History
The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.
On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.
The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.
On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.
The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.
Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.
© Wiener Staatsoper
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