The playfulness of Figaro performed on three successive nights as of 13 February rewrites the textbooks on how to direct operas. – It has absolutely nothing to do with financial constraints. We come closer to the audience by creating a parallel between living music and the stage, by asking the singers to play amongst the musicians. Actually, it is the genre that takes on a new identity, since the concert goes through a metamorphosis as it follows the subject of the play which exploits the changes of costumes and roles - says Iván Fischer, Music Director of the Budapest Festival Orchestra, by way of introduction. – Theatre becomes a concert, the concert becomes theatre, this is how the erotic magic is born – Fischer says. Fischer insists on a theatrical attitude, deliberately. He says that this attempt, a quasi-Hungaricum, goes beyond the trendy staging of operas with minimalist scenery: "The play has an effect on the musicians, singers and the audience alike. This is what makes it a unique experience." In the Béla Bartók National Concert Hall the conductor-director seats the orchestra on the stage, the singers and musicians are equal partners in the production, and he, as a genuine conductor, conducts the play in 4 acts without a partiture. Of course, the essence, the heart and soul of the whole show is the music of Mozart.