DER TOLLSTE TAG

In the organizer's words:

The content is well known to opera lovers since Beaumarchaisʼ play "La folle journée ou Le mariage de Figaro" (1784) and Mozartʼs opera based on it, "Figaroʼs Wedding" (1786): Figaro and Susanne, employed as valet de chambre and maid to Count and Countess Almaviva, are about to marry. The Count generously allocates the couple a beautiful room right next to his chambers, but Susanna sees through her employer. He wants her to be within easy reach for his sexual desires. Figaro and Susanna try to wit their way out of the precarious situation, but unlike Beaumarchais, the Count sticks to his lascivious plan in Peter Turrini's 1971 version. In the end, Figaro can only avert the violence of the ruler by force: Figaro kills the Count when he tries to rape Susanne. But what now? Figaro and Susanne don't know where to go after that. Their bloody revolt against the destroyer of their love has also destroyed their way of life. What should they do? Revolt or revolution?

Turrini's play tells of people's fundamental right to a self-determined life, an undisturbed love into which no superior power has the right to interfere. The story begins as a cheerful, erotic comedy with a carefree couple in love who are about to get married, only to tip more and more into a hopeless tragedy as the count's abuse of power progresses. The strong female characters are no longer just passive objects of lust, but have a great deal of lust themselves and show it rigorously. Johanna Doderer has written very sensual and rhythmic music with great arias that draw the audience into the mounting tension. Together they create a thrill that is impossible to resist.