Le nozze di Figaro at the Teatro Real
Wednesday, July 22nd, 2009
by Isaure Cointreau
It is five o’clock and we are inside the Teatro Real waiting for the last minute tickets to be sold. People are all anxious to see if they will or not be having a seat for tonight’s show, sitting in the hallway for the ticket office to open. At ten past five the fist couple to be served appears a grin on their face and say:” there is only one ticket left” while taking their leave. All the rest of us stay motionless and hope for the best. The file continues to move and it seems that our fear was just a joke. Let they be damned!
When our turn arrives, the cashier attends to our demand. We want the best for the best price. What is there left? She simply answers, pointing at a map of the theatre our seats: first row, first flour. My friend and I can’t believe it and we gaze at each other performing a kangaroo dance while smiling hysterically. For eight euros (instead of ninety-eight) we will be watching Mozart’s masterpiece, the marriage of Figaro.
After a little run in order to exchange shorts with dresses, trainers with pumps, we were off to La Latina.
Looking for a little piece of quiet in the city, the main idea was to go Plaza Paja. However on the way over there, out of the blue came what we were looking for. Walking down the C/ de la Pasa, a beautiful little plaza came just on to our left. Silence, shade and a café were happily presenting us to a table. Children running around and the wind blowing in the trees’s branches, what a wonder!
Although we would have stayed longer, after a short coffee break in order to refuel as to attend the four hour performance, we were off to the Opera House. The show started at seven O’clock sharp and a few minutes before that we were kindly conducted to our seats. If only our neighbors had known how we got those tickets, they would have screamed for scandal. We just felt very lucky.
This Opera was based on Beaumarchais’s work that goes by the same name. W.A. Mozart had written it for the Austrian court and although the Emperor yawned throughout the first performance in 1786, it is nowadays part of the timeless classic masterpieces.
This is a wonderfully entertaining opera-buffa, as in being of a comical character and sung from the beginning until the end. The ouverture is very famous for its presto (rapid rhythm) and any one would recognize it instantly. However, the magnificent performance of the orchestra is a wonderful introduction to the show and sets you on the right tempo to enjoy what goes behind the curtain. While the blinds are lifted up from the stage, Figaro and his betrothed, Susanna, are the first protagonists to meet with the audience. Through magnificent vocalisms they sing their happiness upon the upcoming wedding and their future projects. However, while he his counting inches as to calculate where to put the nuptial bed, Susanna on her part doesn’t want to live in this room as it is too close to the master’s quarters, afraid she would have to bear his frivolous virtue.
The production was fantastic from the beginning until the end. Not one minute had I thought I would be better off elsewhere. I was like a sponge trying to remember every detail, sound, image and rhythm. However, adding to this I can promise you laughter is also part of the emotions the show will inspire you.
A few things stoke me as extraordinary modern, witty and delightful. While the vocals were going on, some of the themes or topics would be winked at by the production. When Figaro cried his love he suspected of being unfaithful, he blamed all women: “Look at them, women, who torture our hearts…” the lights inside the Opera were then turned on, inviting the audience to look at women in the public. Another time during the garden rendez-vous between the count and the countess in disguise, a delicate flower perfume was to be sent in the whole theatre, and the spectator would once more feel as if being part of the show.
The sets were beautifully made and various. I would have gladly stopped time and try to depict it with some aquarelle paint. The décor were all put together as to help the public imagine and feel closer to the story, and in that purpose details were not neglected. Gardens, palace rooms and chambers, everything was superb, as if they were all composed as a painting by Francois Boucher. However, though I don’t despise minimalism at all it is sometimes nicer to see a good set on stage.
My only regret that night was that apart from witnessing the splendor of Mozart’s gift for music and the talent of those performing before me, it would only last the time of the show, and when the lights would fire up again it would all be part of the past, as if it where only a dream. Though what a wonderful dream it was.








