Lorenzo Da Ponte, librettist of Mozart in his famous Trilogy (Le nozze di Figaro, Don Giovanni, Così fan tutte), had a novel life: traveler, director of the New Italian Theater at the court in Vienna, professor of Italian in London and friend of Casanova (whom he had a very present in the characterization of the Don Giovanni ), finished as a professor at Columbia University in New York, where he died.

On the other hand, Beaumarchais, with an extraordinary personality, shares with Da Ponte a life full of adventures: he was a watchmaker, inventor, playwright, piano teacher to the daughters of Louis XV, spy, diplomat, editor, horticulturist and revolutionary. It took a long time for Beaumarchais to be able to publish Figaro or La folle journée, censored and hindered by the king himself for harsh social criticism that put a spotlight on the arrogance of the ruling class: the aristocracy just before the French Revolution. The work shows the social antagonism between classes, master-bred, and defends the moral superiority of the base of society and encourages a revolt.

Le nozze di Figaro is shown to us as an extraordinary monument, without comparison. A brilliant score full of unpredictable twists that responds to the beginning of the units of classical theater: unity of place (the castle of the Count, near Seville), of time (18th century) and of action.

The audience is invited to immerse themselves in the tumultuous life of this gallery of characters: the contemplative loneliness of the Countess, an emancipated/cunning Susanna in the face of man's misogyny, a Figaro obedient to the sadistic and abusive Conte and a lovey-dovey and innocent Cherubino. A collection of characters in which, residing in the myth, a shared female suffering is shown source of a masculine violent form. Women's only refuge is their ability to be supportive. From the moment they separate, they become vulnerable.

We can reduce this whole microcosm into a binary confrontation between individualistic and aggressive masculine worlds and one of sensitive and generous feminine. All aspects and variants of love are collected here: from Cherubino's contemplative idealism to husband-wife, lover-courtesan, parent-child relationships: a world of explorations and a handbook perfectly defined and musically profiled by Mozart in each of the characters.

From fragility to violence, through generosity, jewel, the triumph of love... it ends up being an eternal mirror for humanity. This new look presented by stage director Marta Pazos will reveal new meanings and confront viewers with the notion of seduction, while raising questions such as: what does it mean to be a man or a woman in today's society?, what limits do we put on our desire?, what does it mean to be a couple today?, what consequences do our impulses or abuse have?

Mozart, who with Le nozze marks the culmination of the classical perfection of beauty, comes to humanity with a score of enormous validity and modernity that suggests reflections that go beyond the plot. Thus, Le nozze continues to talk about our society and our time, strains the institution of marriage and, in view of the #metoo movement, abuse of power and sexual intimidation speak of a male toxicity that must be eradicated.

The different manifestations on love and reconciliation are the basis of this work, and in the context of the prevailing Catholicism and the Enlightenment of the time, Mozart proposes a final recipe: forgiveness, an intelligent and necessary reparation.

Stage director: Marta Pazos

Set design: Max Glaenzel

Costume design: Agustin Petronio

Choir of the Gran Teatre del Liceu. Regisseur Pablo Assante

Symphony Orchestra of the Gran Teatre del Liceu. Regisseur Giovanni Antonini