Le nozze di Figaro

‘The best opera ever written by a human being’*


Revealing truth, virtue and beauty as no other opera. Figaro is Mozart’s operatic masterpiece, an irresistible blend of musical wit and social satire. ‘The best opera ever written by a human being’ has the capacity to be as transformative an experience as can be had in a theatre.

The Grange Festival’s new production by Martin Lloyd-Evans, who created the magical Mansfield Park at The Grange in 2017, conducted by Richard Egarr with The Academy of Ancient Music, presents a cast of some of Europe’s brightest young artists.

A score fizzing with life and melody brings song to Beaumarchais’ provocative play, and colour to his captivating cast of characters – from the lascivious Count and bombastic Dr Bartolo to the gawky teenage Cherubino, charismatic Figaro and of course his endlessly resourceful wife-to-be Susanna.

* Sir Isaiah Berlin Desert Island Discs 1992

  • Composer — Wolfgang Amadeus Mozart
  • Librettist — Lorenzo Da Ponte
  • Orchestra — The Academy of Ancient Music
  • Language — Sung in Italian

Production Team




With a fine cast and a production of rare wit and poignancy, this is one of those occasions which reminds us that Le nozze di Figar is truely one of life's great operatic experiences


Ellie Laugharne stood out as Susanna for clarity of tone and quality of legato; tightly-wound, she showed just the right combination of frustration and amusement. Barely able to conceal her physical repulsion of Almaviva, we were given a women determined to do her utmost to take control of her fate


Lloyd-Evans and his team ensured that the closing miracle of forgiveness and reconciliation worked its magic without cynicism, with Mihai's Countess no longer a scorned, frantic victim but a vision of healing grace

The Arts Desk

Ellie Laugharne's grounded Susanna and Mihai's sorrowful Countess offer real depth of feeling, and the opera's final healing message of love and forgiveness rings completely true

The Times

Wallis Giunta's Cherubino balances the layered artifice of appearing boyish while more than once playing a boy playing a girl; her innate vocal warmth lends her pubertal pageboy a winning appeal

The Stage
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