The premiere of Wolfgang Amadeus Mozart’s Le Nozze di Figaro is scheduled for Saturday, February 6, 2016. The conductor is Natalie Murray Beale, stage director Mauricio García Lozano, the set designer is Jorge Ballina, the costume designer is Eloise Kazan, assistant conductor Josip Šego, assistant stage director is Martina Zdilar Sertić, stage movement Ronald Savković, lighting designer is Aljaž Zalatel and the choir preparations are conducted by Nina Cossetto.
The cast includes: Matija Meić and Siniša Štork as Figaro, Ljubomir Puškarić and Davor Radić as Conte, Tamara Franetović – Felbinger and Adela Golac Rilović as Contessa, Marija Kuhar Šoša and Tanja Ruždjak as Susanna, Jelena Kordić and Martina Menegoni as Cherubino, Diana Hilje, Helena Lucić Šego and Dubravka Šeparović Mušović as Marcelina, Ivica Čikeš and Ivica Trubić as Don Bartolo, Nikša Radovanović and Božimir Lovrić as Don Basilio, Dario Čurić and Tvrtko Stipić as Don Curzio, Anabela Barić and Martina Klarić as Barbarina, Antonio Brajković and Alen Ruško as Antonio and the Orchestra and choir of the Opera of the CNT In Zagreb. Stage managers are Aleksandra Ćorluka and Zrinka Petrušanec, prompters are Marija Nacevska and Gordana Nikić, concert masters are Marco Graziani, Mojca Ramušćak and Vlatka Pehljan, and piano accompanists are Vjekoslav Babić, Darjana Blaće Šojat, Helena Borović, Silvana Čuljak and Darijan Ivezić.
The plot of this four-act opera is abundant in events around Count Almaviva who, enchanted by Susanna, the maid of his wife, wishes to use the privilege of the ius primae noctis, that is share her wedding bed. During this complicated and slightly unusual plot in which men and women experience their day filled with irresistible passion, there are many dramatic but also comic events going on and at the end the servants appear greater gentlemen than their masters. The entire story can be interpreted as a metaphor of various stages of love: page Cherubino and Barbarina stand for immature love; Susanna and Figaro for love that has just blossomed; the Count and Countess for love that had been influenced by time and Marcellina and Don Bartolo for mature love. Created after Beaumarchais’s comedy with the same title and the exceptional libretto of Lorenzo da Ponte, the opera had its world opening night in Vienna on May 1, 1786 and won great popularity despite its first series of only nine performances, because it openly mocked the upper class. It became one of the most successful Mozart’s works and is considered to be the cornerstone of standard opera repertoires.
Mauricio García Lozano, a Mexican theatre director, actor, interpreter, sound designer and pedagogue directed more than 50 performances of contemporary Mexican and foreign dramatists. In 2009, he directed his first opera production Mozart’s Don Giovanni for which he was declared a brilliant young Mexican theatre director by the Opera Now magazine. In 2010 on the stage of the Mexican national Opera he created a new production of Beethoven’s Fidelio with maestro Nikša Bareza.