Jeanne Oberson

One summery day in 1890, the photographer Felix Arnaudin settles at the heart of a hamlet in the Landes to take pictures of its inhabitants. Among them, Emile, who lives alone with his three children. By nightfall, at the fireside, Emile tells his story to the photographer: his wife was a fairy. She disappeared.

The marriage of Figaro, Mozart’s opera, has been adapted for the Opera of Bordeaux by Laurent Laffargue, a theatre director from Bordeaux. How do his artistic intuitions, and sometimes his certainties converge with the skill and talent of his numerous colleagues, scenographers, costume designers, singers, technicians, to make out of this creation a unique moment of the story of this play?

One summery day in 1890, the photographer Felix Arnaudin settles at the heart of a hamlet in the Landes to take pictures of its inhabitants. Among them, Emile, who lives alone with his three children. By nightfall, at the fireside, Emile tells his story to the photographer: his wife was a fairy. She disappeared.

The marriage of Figaro, Mozart’s opera, has been adapted for the Opera of Bordeaux by Laurent Laffargue, a theatre director from Bordeaux. How do his artistic intuitions, and sometimes his certainties converge with the skill and talent of his numerous colleagues, scenographers, costume designers, singers, technicians, to make out of this creation a unique moment of the story of this play?