Second Installment of The Figaro Project, the Celebrated Young Company’s Most Ambitious Undertaking to Date, Follows Immensely Acclaimed Staging of Giovanni Paisiello’s The Barber of Seville at the Fabbri Mansion (House of the Redeemer) On Site Opera Continues Site-Specific Trilogy, The Figaro Project, With North American Premiere Of Marcos Portugal’s The Marriage of Figaro, June 14-17 At 632 On Hudson in West Village OSO The Marriage of Figaro Press Release Ashley Emerson (soprano) as Susanna and Jesse Blumberg (baritone) as Figaro at 632 on Hudson. Photo by Rebecca Fay Photography Beaumarchais had a good sense of the zeitgeist.Download “The Marriage Of Figaro” Press Release Probably as a result, once the play opened at Théâtre Français (after several years of negotiations with the French censors), it ran for 68 consecutive performances with record ticket revenues. This was, in the years leading up to the French Revolution, dangerous stuff. He strikes upon the idea of reinstituting the feudal droit du seigneur, which gives the lord first dibs on any servant girl who gets married. The Count, no longer the lovestruck youth of “Barbier”, is now an overbearing and entitled aristocrat. His eye has settled on Rosina’s maid Susanna, coincidentally Figaro’s betrothed. “Figaro” starts with an altogether darker premise: Count Almaviva has, only three years after having wooed Rosina from beneath her window, already tired of her. Le Mariage de Figaro was in fact a sequel to Beaumarchais’s earlier hit Le Barbier de Séville – which most of us will know through the bouncy Rossini opera buffa (which ironically came 30 years after its nominal sequel).
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