Chautauqua Institution

Act I: On the day of their wedding, Figaro and Susanna, servants to Count and Countess Almaviva, prepare for marriage. Susanna reveals the Count is pursuing her, hoping to revive the old "droit du seigneur," the supposed right to sleep with a servant on her wedding night. Figaro vows to outwit him.

Meanwhile, Marcellina, an older woman, arrives with Dr. Bartolo to enforce a contract: Figaro once promised to marry her if he didn’t repay a loan. As this conflict brews, Cherubino, the Count’s teenage page, is dismissed for flirting with the ladies of the household. He hides in Susanna’s room and is discovered by the jealous Count. Figaro begins setting a trap to expose the Count’s scheming.

Act II: The Countess, hurt by her husband’s betrayal, joins Figaro and Susanna in a plan: Cherubino will dress as Susanna to lure the Count into an embarrassing situation. As the plan unfolds, Cherubino is hidden in a closet, but the Count grows suspicious and threatens to break the door down.

In the nick of time, Cherubino escapes out the window and Susanna takes his place in the closet. The ruse confuses the Count, who feels ashamed when the truth is (partially) revealed. Figaro adds to the confusion by pretending everything is fine and the wedding is set. The act ends with Antonio the gardener revealing someone jumped from the window, and Marcellina and Bartolo arriving with the lawsuit.

Intermission (ten minutes)

Act III: The Count revives the marriage contract to delay Figaro’s wedding. In court, Figaro reveals he was kidnapped as a child and carries noble birthmarks. Marcellina realizes Figaro is her long-lost son—making Bartolo his father. The lawsuit is dropped, and they decide to marry as well.

Meanwhile, Susanna and the Countess write a letter to the Count, pretending Susanna agrees to a secret rendezvous in the garden. It’s part of a trap: the Countess will go in Susanna’s place. The act ends with preparations for a double wedding and rising tension.

Act IV: At night in the garden, everyone arrives in disguise. Figaro becomes jealous after overhearing Susanna speak to the Count (as part of the plan) and plots revenge. He later realizes the truth and joins in the trickery.

The Count tries to seduce the woman he thinks is Susanna, but it’s actually the Countess in disguise. When the real Susanna reveals herself, the Count is caught red-handed. He humbly begs forgiveness, which the Countess grants. All misunderstandings are resolved, and the opera ends with joy and reconciliation.

Singer Bios

Madeleine Christopher

Christine Powell-Thomas

Cast List

Susanna Acts 1 & 2 – Lynn Kang (7/17), Angelina Yi (7/19)

Susanna Acts 3 & 4 – Ella Vaughn (7/17), Aida Skaraite (7/19)

Figaro – Reever Jay Julian (7/19), Tieyin Li (7/17)

Count – Luis Vega-Torres (7/19), Dominic Townsend (7/17)

Countess (entire role) – Helaine Liebman (7/17)

Countess Acts 2 & 3 – Adaiah Ogletree (7/19)

Countess Act 4 – Aubrey Cole (7/19)

Cherubino (entire role) – Michaela Larsen (7/19)

Cherubino Acts 1 & 3 – Gabrielle Guida (7/17)

Cherubino Acts 2 & 4 – Valarie Miles (7/17)

Marcellina – Christine Powell-Thomas (7/17), Huije Sun (7/19)

Bartolo – Nicholas Gryniewski

Basilio/Curzio – Justin Bell (7/17), Valentine Umeh (7/19)

Barbarina – Madeleine Christopher (7/19) , Elizabeth Palumbo (7/17)

Antonio – Wayne Arthur

About the Opera Conservatory

The Chautauqua Opera Conservatory is designed to guide and empower young artists through training and vast performance opportunities in a wide array of repertoire with excellent faculty. Under the leadership of Denyce Graves-Montgomery, Artistic Advisor, and Jonathan Beyer, Director, a dynamic group of singers study, coach, and perform in an idyllic setting on the grounds of the Chautauqua Institution.

About the Show

It’s a wedding, and you’re invited!

A contemporary production of Le Nozze di Figaro reimagines the classic opera in a modern context, blending traditional elements with innovative staging and design and modern dress Set against a backdrop of a sleek, minimalist environment, this production will highlight themes of class struggle and gender dynamics through a contemporary lens. From Figaro and famously sharp banter to the Count’s unsettling attempts to exert power over Susanna, this production will crackle with wit while lifting up ever-relevant themes of inequality, consent and agency in relationships, and gender dynamics. And while no marriage is perfect…that of Mozart’s music and Da Ponte’s text comes exceedingly close in ways brilliant, bawdy, and bold (just as Beaumarchais intended back in 1778). This production invigorates Mozart’s masterpiece, inviting audiences to reflect on its themes within the context of our modern sensibilities. Please join us for this musically sublime tragicomedy exploring life, liberty, and the pursuit of upending the patriarchy.

2025 School of Music Faculty and Staff

Opera Conservatory 2025

Denyce Graves, artistic advisor

Jonathan Beyer, director

Resident Faculty

Dominic Armstrong

Nicole Cabell

Rachel Calloway

Claudia Catania

Maxine Davis, Feldenkrais Practitioner

Damien Geter

Maya Goell, directing intern

Emma Griffin

John Holiday

Kimille Howard

Rhoslyn Jones

Dietlinde Maazel

Kevin Short

Nathan Troup

Carol Vaness

Laura Ward

Kensho Watanabe

Vocal Coaches

Donna Gill

Joel Harder

Jeremy Chan

Manuel Arellano

Donald Lee III

Shaobai Yuan, student collaborative pianist

School of Music Administration

Sarah Malinoski, Director, Chautauqua Schools of Performing and Visual Arts

Samantha Minardi-Lopez, Manager of Student Services & Arts Education Business Coordinator

Alyssa Shimmel, Administrative Assistant

Mariana Mathewson Bernstein, Connections Coordinator

Robert Bussell, Piano Technician

Harpsichordist and Pianist Bios

Thank You

The School of Music would like to thank Anna Antemann and the Antemann family for their gracious donation of the William Dowd harpsichord being used in this evening's performance.