Die Hochzeit des Figaro

In the organizer's words:

On the occasion of the wedding of Figaro and Susanna, Count Almaviva wants to indulge himself once again with the long abolished "right of the first night", setting in motion a machinery of confusion, intrigue and doubt that ultimately leads to the unmasking of the count's abuse of power, but also the possibility of forgiveness.
Only a composer like Wolfgang Amadeus Mozart could have come up with the almost ludicrous idea of setting Beaumarchais' La folle journée ou Le mariage de Figaro in 1786, the most politically explosive comedy of those years - the character portrait of a society in upheaval and an aristocracy once again living out its privileges and blindly running to its own ruin. The very first bars of the overture make it irresistibly clear: in this play, every bar, every syllable, every whisper carries the overtone of nervous excitement. There is only a standstill at the turning points, those precious moments in which Mozart turns the inner life of his heroes inside out. But the adventure continues and only nightfall can put an end to this "great day".
In Lydia Steier's production, The Marriage of Figaro comes to the stage as a play that is as profound as it is entertaining. In a bitterly wicked way, the director exposes what was originally revolutionary as the empty assertion of a frustrated society that has settled into the system.