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The Marriage of Figaro

2007 Schools Wikipedia Selection. Related subjects: Poetry & Opera

       Operas by Wolfgang Amadeus Mozart

   Die Schuldigkeit des ersten Gebotes (1767)
   Apollo et Hyacinthus (1767)
   Bastien und Bastienne (1768)
   La finta semplice (1769)
   Mitridate, re di Ponto (1770)
   Ascanio in Alba (1771)
   Il sogno di Scipione (1772)
   Lucio Silla (1772)
   La finta giardiniera (1775)
   Il re pastore (1775)
   Thamos, König in Ägypten (1779)
   Zaide (1780)
   Idomeneo (1781)
   Die Entführung aus dem Serail (1782)
   L'oca del Cairo (1783)
   Lo sposo deluso (1784)
   Der Schauspieldirektor (1786)
   The Marriage of Figaro (1786)
   Don Giovanni (1787)
   Così fan tutte (1790)
   The Magic Flute (1791)
   La clemenza di Tito (1791)

   Le nozze di Figaro ossia la folle giornata (Trans: The Marriage [lit.
   Wedding] of Figaro or the Day of Madness), K. 492, is an opera buffa
   (comic opera) composed in 1786 by Wolfgang Amadeus Mozart, with
   libretto by Lorenzo da Ponte, based on a stage comedy by Pierre
   Beaumarchais, Le mariage de Figaro ( 1784). Although the play by
   Beaumarchais was at first banned in Vienna because of its satirization
   of the aristocracy, the opera became one of Mozart's most successful
   works. It is now regarded as a cornerstone of the standard operatic
   repertoire, and Opera America claims it to be the sixth most performed
   opera in North America. The overture is especially famous and is often
   played as a concert piece.

History

   The opera was the first of several celebrated collaborations between
   Mozart and da Ponte; they went on to create Don Giovanni and Così fan
   tutte. It was Mozart who brought a copy of Beaumarchais's play to da
   Ponte, who turned it into a libretto in 6 weeks, translating the story
   into Italian poetry and removing all political references. Contrary to
   the popular myth, the libretto was approved by the Emperor, Joseph II,
   before any music was written by Mozart. Figaro premiered at the
   Burgtheater, Vienna, on May 1, 1786 to enormous popularity, though it
   was only allowed a run of 9 performances. The Emperor is known to have
   made a law regarding the number of encores that could be sung at
   performances of Figaro, for the audience was demanding so many that the
   already lengthy 4 hour opera was commonly running nearly twice as long
   thanks to the number of song repetitions. For a Vienna revival
   production in 1789, W.A. Mozart replaced both arias of Susanna with new
   compositions, better suited to the then singer of Susanna, Adriana
   Ferrarese del Bene. For Venite inginocchiatevi he wrote in August 1789
   Un moto di gioia (K. 579), and for Deh vieni he wrote in July 1789 the
   concert aria Al desio di chi t'adora (K. 577).

Music

   A phrase from The Marriage of Figaro, with the words "Cosi fan tutte le
   belle", was later reused in the overture to Così fan tutte. The music
   of Figaro's Act One finale aria, Non più andrai, is used as the
   regimental slow march of the Coldstream Guards of the British Army and
   is quoted in the second act of Mozart's opera Don Giovanni. Mozart
   "recycled" the music of the Agnus Dei of his "Krönungsmesse" KV317 (
   Coronation Mass), for the Countess' Dove sono, in C major instead of
   the original F major). The same motif was used in his early bassoon
   concerto. The opera is scored for two flutes, two oboes, two clarinets,
   two bassoons, two horns, two trumpets, two Timpani drums, two sections
   of violins, violas, cellos, and basses.

Roles

     * Count Almaviva ( baritone, unfaithful to his wife Rosina (the
       countess); chasing after Susanna)
     * Rosina, Countess Almaviva ( lyric soprano, distraught because of
       the Count's unfaithfulness)
     * Figaro ( bass-baritone or basso, former Barber of Seville, now the
       Count's valet)
     * Susanna ( light-lyric soprano; Figaro's future wife, in service
       under the Countess)
     * Cherubino ( mezzo soprano — a breeches role, the Count's young
       page, in love with every woman in the castle, especially the
       Countess)
     * Marcellina (mezzo soprano, an old spinster, with a contract to
       marry Figaro)
     * Bartolo ( basso, vengeful toward Figaro for foiling his former
       plans to marry Rosina, his ward)
     * Basilio ( tenor, master of music and intrigue)
     * Don Curzio (tenor, a judge)
     * Antonio (basso, the gardener)
     * Barbarina ( soprano or mezzo-soprano, Antonio's daughter in love
       with Cherubino)

Synopsis

   The Marriage of Figaro is a "sequel", so as to speak, to The Barber of
   Seville, and recounts a single "mad" day in the palace of the Count
   Almaviva. Rosina is now the Countess; her husband, the Count is seeking
   the favors of Susanna who is to be wed to her love, Figaro, the Count's
   valet. When the Count detects the interest of the young page,
   Cherubino, in the Countess, he tries to get rid of Cherubino by giving
   him an officer's commission in his own regiment. Figaro, Susanna, and
   the Countess conspire to embarrass the Count and expose his infidelity.
   Meanwhile Figaro is caught up in a dispute with Bartolo and Marcellina,
   which ends when he is revealed to be their son. At night, all find
   themselves on the palace grounds, where a comic series of cases of
   mistaken identity results in the Count's humiliation and then
   forgiveness by the Countess.

Act I

   Figaro is happily measuring the space where the bridal bed will fit.
   Susanna is trying on her wedding bonnet in front of the mirror. In the
   present day, a more traditional French floral wreath or a modern veil
   are often substituted. (Duet: Cinque, dieci, venti, trenta — "Five,
   ten, twenty, thirty.") Figaro is quite pleased with their new room, but
   Susanna is less so. She is bothered by its proximity to the Count's
   chambers: it seems he has been making advances toward her and plans on
   exercising his " droit de seigneur", the purported feudal right of a
   lord to bed a servant girl on her wedding night before her husband can
   sleep with her. (The Count abolished the right when he married Rosina
   and now desires to resurrect it.) Figaro is livid and plans revenge on
   the Count (aria: Se vuol ballare, signor contino — "If you want to
   dance, sir count").

   Figaro departs, and Dr. Bartolo arrives with Marcellina, his old
   housekeeper. Bartolo has been hired as counsel for Marcellina: Figaro
   had promised to marry her in exchange for the cancellation of a debt,
   and she intends to make him keep his promise. Bartolo, still irked at
   Figaro for having facilitated the union of the Count and Rosina (in The
   Barber of Seville), promises to help Marcellina (aria: La vendetta —
   "Vengeance").

   Bartolo departs, Susanna returns, and Marcellina and Susanna share an
   exchange of polite insults (duet: Via, resti servita, madama brillante
   — "After you, madame"). The older woman departs. Cherubino then arrives
   and, after describing his love for women, particularly the Countess
   (aria: Non so più cosa son — "I don't know anymore what I am"), asks
   Susanna's aid with the Count. It seems the Count is unhappy with
   Cherubino's amorous ways, having discovered Cherubino with the
   gardener's daughter, Barbarina, and plans to punish him. Cherubino
   wants Susanna to ask the Countess to intercede on his behalf. When the
   Count appears, Cherubino hides behind a chair, not wanting to be seen
   alone with Susanna. The Count uses the opportunity of finding Susanna
   by herself to personally step up his demands for favours from Susanna,
   including offering Susanna financial inducements to sell herself to
   him. Then Basilio, the slimy music teacher, arrives. The Count, also
   not wanting to be caught alone with Susanna, hides behind the chair.
   Cherubino leaves that hiding place just in time and jumps onto the
   chair, and Susanna covers him with a dress. So now the Count is behind
   the chair, and Cherubino is on the chair covered by a dress.

   When Basilio starts to gossip about Cherubino's obvious attraction to
   the Countess, the Count leaps from his hiding place in anger. The Count
   lifts the dress from the chair to illustrate how he found Cherubino
   under a table in Barberina's room — and again finds Cherubino!
   Cherubino is only saved from punishment by the entrance of the peasants
   — the entrance of the peasants being an early attempt by Figaro to
   commit the Count to a formal gesture symbolising the promise of
   Susanna's entering into the marriage unsullied. The Count evades
   Figaro's plan by postponing the gesture. Cherubino is compelled to
   depart to the army in Seville, and Figaro gives him advice about his
   new, female-less life (aria: Non piú andrai — "No more gallivanting").

Act II

   In the Countess's bedroom, the Countess laments her husband's
   infidelity. (aria: Porgi, amor, qualche ristoro — "Grant, love, some
   comfort"). Susanna comes into the room to prepare the Countess for the
   day. Susanna has evidently updated the Countess on the latest with
   regard to the Count's overtures to her, since she answers the
   Countess's question about the update with the response that the
   Countess is now fully informed, but adding that the Count is not trying
   to seduce her (he wouldn't lower himself to seduce such as her — he
   intended it to be a cash transaction). Figaro then arrives and hatches
   a plan to trick the Count: Susanna will give him a note indicating she
   wants to meet him that night in the garden; Cherubino will be waiting
   there, dressed as a woman; and the Countess will arrive and catch him
   red-handed. Furthermore, Figaro has already sent a letter to the Count
   (via Basilio) that indicates the Countess has a rendezvous that evening
   of her own.

   Susanna lets Cherubino into the room and locks the door, because the
   Countess is worried about the jealous Count's reaction if he found
   Cherubino in the room. Susanna urges him to sing the song he wrote in
   honour of the Countess (aria: Voi, che sapete che cosa é amor — "You
   ladies who know what love is, see if I have it in my heart"). After the
   song, they proceed to attire him in women's clothes (aria of Susanna:
   Venite inginocchiatevi — "Come, kneel down before me"). During this
   time, the Countess sees Cherubino's commission, and notes that the
   Count was obviously in such a hurry that he forgot to seal it with his
   signet ring (which was necessary to make it an official document).
   Susanna returns to her room for some clothing in which to dress
   Cherubino. While the Countess and Cherubino are waiting for Susanna's
   return, they suddenly hear the Count arriving, so Cherubino flees into
   the next room— a closet. The Count demands entrance into the room, and,
   when Cherubino is hidden, the Countess unlocks the door. When the Count
   enters, angry at the information in the note that he has received, he
   hears noise from said room and tries to open it. It is locked. The
   Countess pretends it is only Susanna, trying on a wedding dress. During
   this time, Susanna re-enters the Countess's bedroom with the clothing,
   unobserved by either the Count and Countess, and conceals herself after
   she realises what is wrong (Susanna knows that to reveal herself to the
   Count will only result in the worst possible consequences to the
   Countess). The Count, furious and suspicious, leaves with the Countess
   to find a way to get the door open. He locks all the bedroom doors as
   he leaves, so that the intruder cannot escape. Susanna emerges from her
   hiding place, and frees Cherubino, who jumps down from the window.
   Susanna then takes his place in the closet. (duet: Aprite, presto,
   aprite — "Open the door, quickly!").

   The Count and Countess return. The Countess finally admits it is
   Cherubino hidden in the closet, but when the closet is opened, they
   both find to their astonishment only Susanna. The Countess claims that
   she told the Count that Cherubino was in the closet to test the Count.
   Shamed by his jealousy, the Count begs for forgiveness. When the Count
   presses about the letter accusing the Countess of infidelity, Susanna
   and the Countess reveal that the letter was written by Figaro, and then
   delivered through Basilio. Figaro then arrives and tries to commence
   the wedding festivities. The Count stops him and asks who wrote the
   anonymous note given to him by Basilio. Figaro manages to evade the
   question, only to have Antonio, the gardener, arrive, complaining about
   a man jumping out of the window into Antonio's plants. Antonio is also
   carrying a letter which, he says, has been dropped by a man who escaped
   through the window. Figaro claims it was he who jumped out the window;
   the document, however, is Cherubino's appointment to the military.
   Figaro gets out of this scrape by saying Cherubino gave it to him
   because it still needed the Count's seal (the Countess and Susanna
   having been able to pass the information on to Figaro in secret).
   Marcellina, Bartolo and Basilio now appear, and the former brings her
   charge against Figaro. The Count secretly rejoices at their arrival.
   The wedding is postponed in order that the Count may investigate.

Act III

   At the wedding hall, the Count mulls over the situation, confused by
   the preceding occurrences. At the urging of the Countess, Susanna
   enters and agrees to meet him later that night (duet: Crudel, perché
   finora — "Cruel girl, why until now have you allowed me to languish") —
   it is the intention of the Countess to meet the Count in Susanna's
   place, disguised as Susanna. As Susanna departs, she is overheard
   saying to Figaro that he has already won the case. The Count,
   overhearing this, realizes he is being tricked (aria: Hai giá vinta la
   causa — "You've already won the case?"). He is determined to make
   Figaro pay by forcing him to marry Marcellina.

   Figaro's trial follows, and the judgment is that Figaro must marry
   Marcellina. Figaro appeals to the Count, but the Count supports the
   judgment. When Figaro declares himself of noble birth, and that he was
   stolen from his parents when he was a baby, the subsequent discussion
   reveals that Figaro is the long-lost illegitimate son of Bartolo and
   Marcellina. A touching scene of reconciliation occurs. Because a mother
   cannot marry her son, Figaro is let off the hook. During the
   celebrations, Susanna enters with a payment to release Figaro from his
   debt to Marcellina. Seeing Figaro and Marcellina in celebration,
   Susanna mistakenly believes that Figaro is happily reconciled to
   marriage with Marcellina. With some difficulty, Susanna is convinced of
   the truth of the situation, and joins the celebration. Bartolo,
   overcome with emotion, agrees to marry Marcellina that evening in a
   double wedding (sextet: Riconosci in questo amplesso una madre —
   "Recognize a mother in this hug").

   All leave, and the next scene sees the Countess, alone, pondering what
   happened to her happiness (aria: Dove sono i bei momenti — "Where are
   they, the beautiful moments"). Susanna enters and updates her regarding
   the plan to trap the Count. The Countess dictates a love letter for
   Susanna to give to the Count, which suggests that he meet her that
   night, "under the pines." The Count is instructed to return the pin
   which fastens the letter. (duet: Che soave zeffiretto — "What a gentle
   breeze").

   A chorus of young peasants, among them Cherubino disguised as a girl,
   arrives to serenade the Countess. The Count arrives with Antonio, and,
   discovering the page, is enraged. His anger is quickly diffused by
   Barbarina (a peasant girl, Antonio's daughter), who reminds him of a
   promise he made to her: "Barbarina, if you will love me, I will give
   you anything you want." What she wants, it seems, is Cherubino's hand
   in marriage. Thoroughly embarrassed, the Count allows Cherubino to
   stay. The act closes with the double wedding, during the course of
   which Susanna delivers her letter to the Count. Figaro sees the note
   with the pin in it, assumes it is from another of the Count's trysts,
   and laughs to himself. As the curtain drops, the two newlywed couples
   rejoice.

Act IV

   Following the directions in the letter, the Count has sent the pin back
   to Susanna, giving it to Barbarina. Unfortunately, Barbarina has lost
   it (aria: L'ho perduta, me meschina — "I lost it, poor me"). Figaro and
   Marcellina see Barbarina, and Figaro asks her what she is doing. When
   he hears the pin is Susanna's, he is overcome with jealousy, especially
   as he recognises the pin as being the one that fastened the letter
   which the Count received. Thinking that Susanna is meeting the Count
   behind his back, Figaro complains to his mother, and swears to be
   avenged on the Count and Susanna. Marcellina urges caution, but Figaro
   will not listen. Figaro rushes off, and Marcellina resolves to inform
   Susanna of Figaro's intentions.

   Actuated by jealousy, Figaro tells Bartolo and Basilio to come to his
   aid when he gives the signal. After commenting on the situation, they
   depart, and, left alone, Figaro muses on the inconstancy of women
   (aria: Aprite un po quegli occhi — "Open your eyes"). Susanna and the
   Countess arrive, dressed in each other's clothes. Marcellina is with
   them, having informed Susanna of Figaro's suspicions and plans. After
   they discuss the plan, Marcellina and the Countess leave, and Susanna
   deliberately sings a love song to her beloved within Figaro's hearing
   (aria: Deh, vieni, non tardar — "Oh come, don't delay"). Figaro is
   hiding behind a bush and, thinking the song is for the Count, becomes
   increasingly jealous (which is Susanna's intention).

   The Countess arrives in Susanna's dress. Unfortunately Cherubino has
   also arrived, and, thinking the Countess to be Susanna, tries to kiss
   the supposed Susanna, but is prevented by the interference of the
   Count. The Count is pursuing the supposed Susanna (really the
   Countess), who eludes him; they both run off when they detect Figaro
   nearby. Then the real Susanna arrives in the Countess' clothes. Figaro
   starts to tell her of the Count's intentions, but suddenly recognizes
   his bride. He plays along with the joke by paying deference to her as
   the Countess; Susanna, not knowing that Figaro knows it is she, becomes
   jealous: she thinks Figaro is making a pass at the Countess and
   promptly rewards him with slaps. Figaro finally lets on that he
   recognized Susanna's voice, and they make peace.

   When the Count appears, Figaro, playacting, declares his love for the
   supposed Countess and sinks on his knees at her feet. The enraged Count
   calls for his people and for arms: his servant is seducing his wife.
   Bartolo, Basilio and Antonio arrive with torches, as the Count drags
   out, one by one, Cherubino, Barbarina, Marcellina and the "Countess"
   from behind the pavilion. During the Count's tirade, as he refuses to
   forgive Figaro and the supposed Countess, the real Countess appears and
   reveals her true identity; the Count realizes he has been trapped (the
   supposed Susanna he was trying to seduce was actually his wife), and he
   simply kneels and asks for forgiveness (Contessa, perdono — "Countess,
   forgive me"). The Countess, more kind than he (Piú docile io sono — "I
   am more kind"), forgives her husband and all are contented. They
   celebrate as the curtain falls.

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