by Peter Turrini, freely adapted from Beaumarchais,

in cooperation with the Dresden State Art Collections.

Finally, Susanne and Figaro's wedding day arrives. However, it turns out to be "great" in a completely different way than they had hoped: Count Almaviva, at whose court they live, has also set his sights on Susanne and wants to win Figaro's heart before the wedding. But love grants the two young servants unexpected powers of manipulation. While they, along with the lonely Countess, try to trap Almaviva, his court schemer Bazilla enters the picture, making matters worse and creating complete chaos. Will the cunning lovers nevertheless manage to thwart the Count's patriarchal fantasies of omnipotence with charm, wit, and sophisticated deception?

Until that is achieved, the characters experience an emotional rollercoaster ride that can only be successfully survived thanks to bizarre disguises, intercepted letters, curious mix-ups and a good dose of quick wit.

Beaumarchais's rebellious comedy, first performed in 1784, was commented on by the amused Napoleon with the words: "The revolution was already at work!" It served as the basis for Da Ponte and Mozart's successful opera of the same name, as well as for Turrini's equally fast-paced and witty adaptation. In Lily Sykes's version, THE CRAZIEST DAY plays with references to a morally corrupt elite of our time. At the same time, the Dresden resident director, together with her artistic team, ignites a firework display of imaginative ideas and anarchic humor in the courtyard of the Japanese Palace.