Following the success of The Magic Flute, the Munot Festival invited me back to direct its 2024 production: The Barber of Seville. Faced with an opera whose plot felt structurally weak and often nonsensical, I searched for a dramaturgical core that could transcend pure illustration. The breakthrough came when I recognized that the absurd itself could be a source of meaning: that clarity, humour, and even emotional truth often emerge from the illogical.

This insight led me to frame the piece as a memory-play. An elderly Rosina, seated before a small proscenium, recalls her wedding day—events unfolding like theatre within theatre. A monumental portrait of Rossini dominated the set, functioning as both ironic observer and theatrical “warehouse”: characters, costumes, and props emerged through it and from behind it, enabling a choreographic, playful response to the opera’s inherent absurdity.