费加罗的婚礼

四幕歌剧
俄语演唱

Credits

音乐:沃尔夫冈•阿马多伊斯•莫扎特
洛伦佐•达庞特的剧本,来自皮埃尔•奥古斯丁•卡隆•德•博马舍的同名喜剧
翻译:彼得•柴可夫斯基

音乐总监 – 瓦列里•捷杰耶夫
总导演 – 亚历山大•彼得罗夫
美术指导和服装设计 – 埃琳娜•奥尔洛娃
灯光设计 – 叶夫根尼•甘兹堡
海滨分院的灯光改进 – 瓦迪姆•布罗茨基
主任音乐指导 – 安德烈•安年科夫
首席合唱团指挥 – 拉里萨•施韦科夫斯卡娅
舞蹈编导 – 亚历山大•柳巴新

SYNOPSIS

第一幕
阿尔马维瓦伯爵的家里正在进行快乐的婚礼筹备工作。伯爵的男仆费加罗要和伯爵的女仆苏珊娜结婚。伯爵对即将到来的庆祝活动并不满意,因为他自己也看上了新娘,所以将不遗余力地阻挠这场婚礼。苏珊娜焦急地告诉她的未婚夫,伯爵在追求她。费加罗准备用他所有的狡猾、敏捷的智慧和精力来挫败他主人的阴谋。但是快乐的费加罗有很多敌人。老巴托洛仍然忘不了这位前理发师当时非常巧妙地欺骗他,并帮助伯爵娶他的养女罗西娜。老女管家马塞利娜梦想着嫁给费加罗。巴托洛和马塞利娜都希望苏珊娜的顽固态度让激怒的伯爵成为他们的盟友。马塞利娜用礼仪性的鞠躬和愤怒的恭维来迎接苏珊娜。苏珊娜对这个脾气暴躁的老女管家笑得很滑稽。谢鲁比诺出现了。这个年轻的仆人爱上了城堡里所有的女人。他崇拜伯爵夫人,但并不排斥向苏珊娜求爱,现在他来向苏珊娜分担他的悲痛,就是伯爵发现他和园丁的女儿巴尔巴丽娜在一起,并把他从城堡赶走。伯爵的突然的出现使切鲁比诺不得不躲起来。
伯爵再次恳求苏珊娜屈服于他的欲望,但这位迷人的贵族的倾诉被一阵敲门声打断了,原来是阴谋家巴西利奥来了。这个老流言家对切鲁比诺对伯爵夫人的爱的影射使他嫉妒了。他愤怒地告诉苏珊娜和巴西利奥关于这个仆人的滑稽行为,突然他注意到切鲁比诺在躲藏。伯爵的怒火是无止境的。切鲁比诺被命令立即前往军团。费加罗在安慰他。

第二幕
伯爵夫人对她丈夫的冷漠感到很难过。苏珊娜的关于他不忠的故事深深地伤害了她的心。伯爵夫人真诚地同情她的女仆和她的未婚夫,所以愿意接受费加罗的计划,就是晚上在花园里召见伯爵,让谢鲁比诺扮成女人,代替苏珊娜去见他。苏珊娜立即开始给这页纸穿衣服。伯爵的突然出现使大家陷入混乱。切鲁比诺藏在隔壁的房间里。
伯爵被他妻子的困惑吓了一跳,要求她打开锁着的门。伯爵夫人固执地拒绝了,向他保证苏珊娜在那里。伯爵嫉妒的怀疑越来越强烈。他和他的妻子决心要打开这扇门,于是就去找工具。
聪明的苏珊娜让切鲁比诺离开了他的藏身之处。但他可以逃到哪里去呢?所有的门都被闩上了。在恐惧中,这个可怜的仆人跳出了窗户。
伯爵回来后发现苏珊娜在锁着的门后嘲笑他的怀疑。他必须向他的妻子道歉。费加罗跑进来告诉她,客人们已经集合了。但伯爵千方百计地推迟宴会的开始,因为他在等待马塞利娜的出现。女管家出现并对费加罗起诉:她要求他要么把旧债还给她,要么娶她。费加罗和苏珊娜的婚礼被推迟了。

第三幕
法院裁定马塞利娜胜诉。伯爵大获全胜,但他的胜利是短暂的。突然被发现了费加罗是马塞利娜和巴托洛的儿子,他在小时候被路人绑架了。被感动的费加罗的父母决定结婚。现在有两个婚礼要庆祝。

第四幕
伯爵夫人和苏珊娜并没有放弃教训伯爵的打算。伯爵夫人决定穿着她自己的女仆装去夜会。在她的口令下,苏珊娜写了一封情书,安排伯爵在花园里与她见面。在宴席上,巴尔巴利娜要把它送去。
费加罗对他的主人嗤之以鼻,但当他从憨厚的巴尔巴利纳那里得知情书是苏珊娜写的,他开始怀疑他的未婚妻有欺骗行为。在夜晚花园的黑暗中,他认出了变装的苏珊娜,但假装相信她是伯爵夫人。伯爵没有认出他伪装成女仆的妻子,并把她带到凉亭里。当他看到费加向假的伯爵夫人表白爱情时,他大惊小怪,召集人公开地揭发他妻子的不忠行为。原谅的请求被他拒绝了。真正的伯爵夫人摘下着面具出现了。伯爵羞愧难当,乞求妻子的原谅。

ABOUT THE PRODUCTION

The irrepressible and omnipresent Figaro first appeared before the public in plays by de Beaumarchais, moreover producing something of a scandal: the concept of the injustice of class barriers and the fact that, in the words of Karamzin, “peasant women, too, are capable of loving” would have seemed to be radical free-thinking in the eyes of someone living in the 18th century. Lorenzo Da Ponte transformed the caustic French comedy into an Italian opera buffa libretto, while the thirty-year-old Mozart composed the timeless music that is today performed at opera houses throughout the world.

Le nozze di Figaro is a comic opera, a merry festive performance with people swapping clothes and confusion bordering on chaos; there are times when only the desire not to miss a single note of Mozart's music prevents the audience from erupting into explosive laughter. The composer's genius, however, affords the madness unfolding in this castle in Seville a secret depth. In the first scene, Figaro uses a ruler to measure the dimensions of the room; everything that the audience will subsequently see is given a totally different and unseen scale by Mozart. It is by this scale that the lofty and the low are measured, and the gradations on this scale are subtle and contradictory. The results are ambiguous: if we set this “ruler” against a hierarchical social staircase then the Count is at the very top and Figaro is at the bottom, whereas if we attempt to measure the spiritual qualities of the characters then this is all reversed. Thus the question of honesty and honour is asked: one is ready to kill to defend his honour, though is himself dishonourable, and the other piles up deceit upon deceit and yet retains his honour. Regardless of its affinity with the masks of commedia dell'arte, the characters in Le nozze di Figaro are real, living people, and their “indicators” on the scale of loftiness and lowliness, of nobility and plebeianism, may change fundamentally, so even the most envious schemer can be transformed into a caring mother, and a dissolute lady-killer may become a loving husband. It is Mozart's music that renders the protagonists alive, real and feeling people.

Alexander Petrov's production of Le nozze di Figaro has been staged at the Concert Hall since 2009. The opera's plot has been moved to the start of the 20th century, the age of art nouveau. Closer to us in chronological terms, the action thus takes on new semantic nuances. When the blundering young lad Cherubino receives a gas-mask together with his military call-up, this appears to be not merely amusing, but frightening as well, and when the menacing and jealous Almaviva drags a wooden dog on wheels behind him we ask ourselves the not unreasonable question – who in fact is the capricious child in this castle? The manners of the classes vary little between each other, the class world is gradually disappearing into the past, though the stratification of society into people who are “special” and those who are “simple”, into people with privileges and those who are the “have-nots”, will remain as it has always been – just like humanity's desire to love, to be loved and to fight for our happiness.

Khristina Batyushina

世界首演:1786年5月1日,维也纳城堡剧院
彼得堡大(砖石)剧院的首演:1851年1月13日,意大利帝国歌剧团
马林斯基剧院的首演:1901年9月25日(俄语,由彼得•伊里奇•柴可夫斯基翻译)
该剧首演:2009年5月1日
马林斯基剧院滨海分院的首演:2022年8月1日,符拉迪沃斯托克


演出时长:3小时15分钟
演出过程中有一次中场休息

Age category: 12+
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