Upstairs, downstairs, inside, outside, dressups and dressing downs, all in a day's work.
Mozart's classic comedy has been entertaining crowds for centuries, and between the witty, fast-moving libretto and the melodic, charming ensemble writing, it's not hard to understand why.
"Music by Mozart and libretto by Da Ponte — this is the best you can get in an opera," says Nicole Car, who makes her Australian debut as the Countess. "Figaro is all about the interplay between the characters, so it's fun to work with singers you know really well to develop those relationships on stage."
Musically, this is the ultimate ensemble opera, with brilliant trios, quartets and even a fantastic sextet.
Dramatically, it's the opera with everything: lovers and liaisons, disguises and tricks, lust and laughter.
In a not-so-subtle dig to the aristocrats Mozart derided, the opera makes a hero of the underclass, especially the servant Susanna.
"Susanna is the servant with more brains than everyone else put together," says Taryn Fiebig, who reprises her favourite role. "She's the puppeteer, manipulating everything to get herself out of a bind. She manages to save her job, keep her husband, fix her boss's marriage, get Marcellina off her tail and still be a lovely person!"
David McVicar won acclaim for his Covent Garden production of The Marriage of Figaro, so we look forward to his new production for Australia, conducted by Jonathan Darlington.