The Count and Countess leave to get tools to break down the closet door, locking Susanna in the room where Cherubino is locked in the closet. However, when Figaro learns that his betrothed is being courted by another, a dangerous game of intrigue and exposure begins. There is some fretting over a cut he has and his pale skin and his tears almost win the Countess's affection, when her husband knocks on the door demanding entry. The play, the second part of a trilogy, was initially banned in Paris due to its portrayal of the abuses of the aristocracy. Figaro and Susanna, the valet and the maid of Count Almaviva, are preparing their wedding. From Sunday 29 November you can enjoy this opera online from home! and more. 31. (The arias were so good, and the rest of the opera so bad, they caused a scandal in Vienna.) Although the total of nine performances was nothing like the frequency of performance of Mozart's later success, The Magic Flute, which for months was performed roughly every other day,[7] the premiere is generally judged to have been a success. Onstage, meanwhile, the real Susanna enters, wearing the Countess' clothes. An opera singer loses his voice during rehearsal and goes through a night of debauchery, before coming back and being able to sing. Le Nozze di Figaro - Dutch National Opera 2016: 22,19€ 2: Geige Melodie: 0€ 3: Le Figaro.fr: 0€ 4: French News: 0€ 5: Le Figaro: 0€ 6: Erneuere deine Zellen: Eine russische Heilerin offenbart ihr energetisches Verjüngungsprogramm. [29], Mozart wrote two replacement arias for Susanna when the role was taken over by Adriana Ferrarese in the 1789 revival. Figaro is an opera buffa, essentially a farce, built on mistaken identities and misunderstandings centered around the upstairs/downstairs power dynamics of so many classic comedies. Premiere 20. [12], The requested posters were printed up and posted in the Burgtheater in time for the third performance on 24 May.[13]. Figaro gets his attention by loudly declaring his love for "the Countess" (really Susanna). But Da Ponte's own life seemed like something out of the theatre as well. The Count shouts for her to identify herself by her voice, but the Countess orders her to be silent. She assumes he has abandoned her, becomes furious, smacks him, and finally decides to listen to her soon to be mother-in-law, leading to a whole bunch of your mom???! Mozart and Lorenzo Da Ponte collaborated on three operas that would cement Da Ponte's reputation as one of the greatest librettists in opera history. An opera singer loses his voice during rehearsal and goes through a night of debauchery, before coming back and being able to sing. On Site Opera’s production of Marcos Portugal’s The Marriage of Figaro is proud to be a part of the inaugural New York Opera Fest! Als Figaro jedoch erfährt, dass seine Verlobte von einem anderen Mann umworben wird, beginnt ein gefährliches Spiel der Intrigen und Entlarvungen. Terrified they hide Cherubino in the walk-in closet and lock the door. This is a shortened and adapted version of our 2016 production. Figaro is shocked at this slander, until Susanna tells him that lately the Count has tired of chasing skirts far from home and is instead trying his luck at home, specifically with her skirts. The first originated in Da Ponte's memoirs, so it may be apocryphal, and gained common purchase in Milos Forman's Oscar-winning film “Amadeus“. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. The extent to which the work’s protagonists are caught up in a dense web of emotional dependency becomes ever clearer. It premiered at the Burgtheater in Vienna on 1 May 1786. Susanna urges him to sing the song he wrote for the Countess (aria: "Voi che sapete che cosa è amor" – "You ladies who know what love is, is it what I'm suffering from?"). The applause of the audience on the first night resulted in five numbers being encored, seven on 8 May. The second is from the Royal Opera House that same year, and features Antonio Pappano leading Erwin Schrott, Miah Persson, Gerald Finley, Dorothea Röschmann, and others. Wolfgang Amadeus Mozart. The rest of the act is set-up for the final machinations. Cherubino. Starting point is Figaro's explosive monologue from Pierre Beaumarchais' original play Le mariage de Figaro. The cast of Le nozze di Figaro consists of a young ensemble, a high number of singers are making their debut at Dutch National Opera. With melodrama appropriate to his youth, Cherubino leaps out the window despite Susanna's protestations. He eventually assumed a post at Columbia College and w… The Count orders Figaro to prove he was the jumper by identifying the paper (which is, in fact, Cherubino's appointment to the army). Figaro muses bitterly on the inconstancy of women (recitative and aria: "Tutto è disposto ... Aprite un po' quegli occhi" – "Everything is ready ... Open those eyes a little"). This month will be truncated, given we started on the 15th. 2, Largo al factotum has some examples in film itself. It starts with Cherubino arriving in search of Barbarina. A musical phrase from the act 1 trio of The Marriage of Figaro (where Basilio sings Così fan tutte le belle) was later reused, by Mozart, in the overture to his opera Così fan tutte. Juni 2015 In italienischer Sprache mit deutschen und englischen Übertiteln . The newspaper Wiener Realzeitung carried a review of the opera in its issue of 11 July 1786. The young man is ultimately saved from punishment by the entrance of the peasants of the Count's estate, a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied. This edition was published in 1807 by Théâtre de l'Impératrice in Paris. But this wasn't a clickbait Twitter poll or a survey of random folk out for a pint, this was a poll of 172 of the world's top opera singers. Antonio tells the Count that Cherubino is back. He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table. Mozart wrote two new arias for Ferrarese del Bene, replacing Susanna's cavatina brilliance “Venite ingionocchiatevi“ (when she and the Countess are dressing—and undressing—Cherubino) and the standout “Deh vieni non tardar“ (her Act IV declaration of love for Figaro). [39] Franz Liszt quoted the opera in his Fantasy on Themes from Mozart's Figaro and Don Giovanni. The Hungarian poet Ferenc Kazinczy was in the audience for a May performance, and later remembered the powerful impression the work made on him: [Nancy] Storace [see below], the beautiful singer, enchanted eye, ear, and soul. Currently has designs on his wife's maid, Susanna. Bartolo departs, Susanna returns, and Marcellina and Susanna exchange very politely delivered sarcastic insults (duet: "Via resti servita, madama brillante" – "After you, brilliant madam"). He snatches one of the Countess's ribbons from Susanna, then sings about how different women drive him crazy in different ways. In his 1991 opera, The Ghosts of Versailles, which includes elements of Beaumarchais's third Figaro play (La Mère coupable) and in which the main characters of The Marriage of Figaro also appear, John Corigliano quotes Mozart's opera, especially the overture, several times. Figaro leaves. Die Hochzeit des Figaro. The Count enters and thrusts Figaro's forged note at his wife. Susanna then takes Cherubino's former place in the closet, vowing to make the Count look foolish (duet: "Aprite, presto, aprite" – "Open the door, quickly!"). Cherubino then arrives and, after describing his emerging infatuation with all women, particularly with his "beautiful godmother" the Countess (aria: "Non so più cosa son" – "I don't know anymore what I am"), asks for Susanna's aid with the Count. Susanna, fooled, loses her temper and slaps him many times. Figaro. The Barber of Seville, a 1782 opera by Paisiello based on Beaumarchais' play; The Barber of Seville, an 1816 opera by Rossini based on Beaumarchais' play; Figaro qua, Figaro là, 1950 Italian comedy film directed by Carlo Ludovico Bragaglia; The Guilty Mother, a 1792 play by Beaumarchais Termine. The scene changes to the trial over Marcellina's loan. The Marriage of Figaro (Le nozze di Figaro) is one of the most appealing opera works that Mozart wrote.Adapted from Beaumarchais’s drama La folle journée, Mozart, with his great librettist collaborator Lorenzo da Ponte, turned the political drama into a honey-sweet opera buffa full of love and humanity.The story depicts how the servants Figaro and Susanna succeed in getting married, foiling the efforts of … 1. His punch actually ends up hitting Figaro, but the point is made and Cherubino runs off. Their trio turns to a quartet as Figaro appears, then a quintet as Antonio, the gardener, busts in and says he saw a young man thrown from the balcony moments ago! The act ends with a wedding march playing and townsfolk arriving to celebrate. The Marriage of Figaro in Mozart's version is the dramatic equal, and in many respects the superior, of Beaumarchais's work.[33]. His anger is quickly dispelled by Barbarina, who publicly recalls that he had once offered to give her anything she wants in exchange for certain favors, and asks for Cherubino's hand in marriage. (In the film Joseph memorably exclaims “LOOK at them!“) The ballet was promptly reinstated. Il Dottor Bartolo. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas.[1]. Seven years older than Mozart, Da Ponte outlived the prolific Austrian composer by 47 years. Perché finora farmi languir così?“, she agrees to meet him that evening. The celebration is spoiled by the Count telling Cherubino he is being assigned to an officer's regiment, effective immediately. Susanna herself returns quietly but stops when she sees the pounding on the closet door, and a wonderful trio “Susanna, or via sortite“ relates their pleas and worries. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. She is telling the truth, but the Count is outraged, growing increasingly insulting and rude, while the Countess protests she is innocent of indescretion. Herbert von Karajan's 1950 recording with the Vienna Philharmonic boasts Elizabeth Schwarzkopf as the Countess and Irmgard Seefried as Susanna. He was born outside Venice and abandoned his seminary education in the city for a married woman. Trailer. Susanna comes in to prepare the Countess for the day. Hello, and welcome to Rossini month! Susanna. “Deh, vieni, non tardar“ is all about Figaro, but he thinks it is about the soon-to-arrive Count. As Basilio, the music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Figaro gives Cherubino mocking advice about his new, harsh, military life from which all luxury, and especially women, will be totally excluded (aria: "Non più andrai" – "No more gallivanting").[28]. Susanna, followed closely by Figaro, comes in and makes matters worse by telling the Countess about the Count's desire to spend the night with her. The premiere took place May 1, 1786 at the Burgtheater. The overture is in the key of D major; the tempo marking is presto; i.e. [16] In summer 1790 Haydn attempted to produce the work with his own company at Eszterháza, but was prevented from doing so by the death of his patron, Nikolaus Esterházy. As he says in The Barber of Seville: "I must force myself to laugh at everything lest I be obliged to weep." Figaro. Motivated by jealousy, Figaro tells Bartolo and Basilio to come to his aid when he gives the signal. Figaro is the sort of opera that stands up to both straight-out comedic productions and moodier interpretations. Productions liées. Opera Online Community. Listen to Mozart: Le Nozze di Figaro by James Levine & Metropolitan Opera Orchestra on Apple Music. ... Vedrò, mentr'io sospiro" – "You've already won the case!" Two Viennese opera traditions fell victim to Le nozze di Figaro. Werk - Komponist : Le Nozze di Figaro - Wolfgang Amadeus Mozart. The Count says that he forgives Cherubino, but he dispatches him to his own regiment in Seville for army duty, effective immediately. Nancy Storace, an English soprano who was a sensation during her brief time in Vienna, sang Susanna. Die Hochzeit des Figaro. Despite her protestations, the Count refuses to forgive “the Countess“, who is really Susanna. This production was a tremendous success; the newspaper Prager Oberpostamtszeitung called the work "a masterpiece",[19] and said "no piece (for everyone here asserts) has ever caused such a sensation. The opera takes place on one day, and tells of Susanna and Figaro’s maneuvering to get married as they plot around the Count with the help of the Countess and several people with their own agendas. Susanna leaves to help the Countess, and Figaro sings his response to the Count’s plans, “Se vuol ballare“, foreshadowing centuries of machismo. The Marriage of Figaro, comic opera in four acts by Austrian composer Wolfgang Amadeus Mozart (Italian libretto by Lorenzo Da Ponte), which premiered in Vienna at the Burgtheater on May 1, 1786. The opera had initially been set to open around Christmas 1785, but got pushed back to the following May. Eventually his excesses—and his blasphemy in the eyes of the Inquisition—got him banished from the city, but his ability for self-promotion, perhaps dishonestly, landed him on his feet in Dresden, where he worked for a successful librettist. [2][3] Mozart's librettist managed to get official approval from the emperor for an operatic version which eventually achieved great success. In the duet “Crudel! Werk - Komponist : Le Nozze di Figaro - Wolfgang Amadeus Mozart. The Barber of Seville or the Useless Precaution is a French play by Pierre Beaumarchais, with original music by Antoine-Laurent Baudron. When Figaro was revived in Vienna in 1789, Storace was replaced by Adriana Ferrarese del Bene, Da Ponte's lover du jour. The Count arrives with Antonio and, discovering the page, is enraged. Figaro - Robert Gleadow Cherubino - Patricia Nolz Bartolo - Maurizio Muraro Marcellina - Enkelejda ... Theodora Raftis (Susanna) ist prädestiniert für die Opera buffa und müsste eine köstliche Despina abgeben. Figaro, Susanna, and the Countess accuse Antonio of being drunk; the Count asks him repeated questions; and Susanna and the Countess quietly explain to Figaro all that has happened. Anna Gotlieb, who was only 12, sang Barbarina. The libretto to the opera was written by Cesare Sterbini. Meanwhile, Antonio informs the Count that Cherubino is not in Seville, but in fact at his house. Thoroughly embarrassed, the Count allows Cherubino to stay. Generally affable defender of his fiancée's honor, but has some ridiculous ideas about women in general. Then the real Countess strides on, and boy does the Count feel like an idiot. The marriage of Figaro and Susanna is imminent. All leave, before Barbarina, Antonio's daughter, invites Cherubino back to her house so they can disguise him as a girl. The Italian mezzo Cecilia Bartoli sang them at three performances during a November 1998 run at the Met. The opera opens on Figaro and Susanna. À venir. Figaro adds that since Susanna keeps refusing him, the Count is threatening to back Marcellina and force him to marry her. Und was ist das Fazit all dieser Überlegungen? Susanna nearly faints to distract the men. The Countess’s maid. The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] (listen)), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. He tells a tale of how he was given common sense by "Donna Flemma" ("Dame Prudence") and learned the importance of not crossing powerful people. Even her singing teacher, Don Basilio, is in on it, urging her to remain open to the advances. Susanna enters and updates her mistress regarding the plan to trap the Count. When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: "Cosa sento!" The Count starts to hit on Susanna, asking her to meet him in the garden at dusk, when Basilio's voice is heard outside, so the Count goes to hide...in the same spot as Cherubino! Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. As the curtain drops, the two newlywed couples rejoice. Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet in front of a mirror (in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding cappellino). The youngster slips around the front of a chair and Susanna throws a dress over him. The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Early 19th-century engraving depicting Count Almaviva and Susanna in act 3. It alludes to interference probably produced by paid hecklers, but praises the work warmly: Mozart's music was generally admired by connoisseurs already at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves. Opera buffa in vier Akten Libretto von Lorenzo Da Ponte nach dem Schauspiel »La folle journée ou le Mariage de Figaro« von Pierre Augustin Caron de Beaumarchais. They are generally based around the character called " Figaro ". and Pst; and consequently opinions were divided at the end of the piece. He has already sent one to the Count (via Basilio) that indicates that the Countess has a rendezvous of her own that evening. Teilen Teilen Folgen. The Count’s youthful page who is in love with nearly every woman in the opera, but particularly the Countess. Don Basilio. Figaro, quite pleased with himself, leaves to find Cherubino. Apropos of plot, Basilio mentions that Cherubino should watch the way he stares at the Countess, because if the Count sees it, there will be trouble! From randy excitement to melancholic disillusionment, the opera features all the possible guises of love. figaro general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin Opera in four acts Libretto by Lorenzo Da Ponte, based on the play La Folle Journée, ou Le Mariage de Figaro by Pierre-Augustin Caron de Beaumarchais Wednesday, February 19, 2020 7:30–11:00 pm The production of Le Nozze di Figaro was made [15], Joseph Haydn appreciated the opera greatly, writing to a friend that he heard it in his dreams. Francesco Benucci, who sang Bartolo in the prequel, sang Figaro for Mozart. A typical opera buffa included both serious and comic characters, but with Figaro Mozart introduced the mezzo carattere or “middle character”—a character who can be at times both serious and comic. We open on the Countess alone in her room, where she soon sings one of the most beautiful arias Mozart wrote, a heart-wrenching prayer that her husband will start to love her again, “Porgi, amor“. The opera was produced in Prague starting in December 1786 by the Pasquale Bondini company. Cherubino says goodbye to Susanna, while Figaro serenades him with the sarcastic martial masterpiece “Non più andrai“. Marcellina schaut, ob er ein Muttermal auf seinem Arm hat, was er bejaht. Barbarina throws the Count under the bus, however, by saying “Remember when you were making out with me, you said I could have whatever I want, I want Cherubino”. The opera takes place on one day, and tells of Susanna and Figaro’s maneuvering to get married as they plot around the Count with the help of the Countess and several people with their own agendas. Der Graf erkennt seinen Freund, tritt hervor und erzählt ihm von seiner Liebe zu der ihm noch unbekannten Bewohnerin des Hauses. Mozart and his librettist Da Ponte left the text, which brims with revolutionary spirit, out of their opera adaptation. When the Count appears, Cherubino hides behind a chair, not wanting to be seen alone with Susanna. The older woman departs in a fury. (You can do better, Countess!). Basilio is looking for the Count on behalf of Figaro, but Susanna tells him off. When the Count presses about the anonymous letter, Susanna and the Countess reveal that the letter was written by Figaro, and then delivered by Basilio. Figaro is inspired by the Commedia dell'arte character of Brighella, and like his predecessor he is a clever liar; moral and yet unscrupulous; good humored, helpful and brave, though somewhat embittered and cynical. After they discuss the plan, Marcellina and the Countess leave, and Susanna teases Figaro by singing a love song to her beloved within Figaro's hearing (aria: "Deh vieni, non-tardar" – "Oh come, don't delay"). The Countess tells him it is only Susanna, trying on her wedding dress. The count is furious, but is reminded that the page overheard the Count's advances on Susanna, something that the Count wants to keep from the Countess. The intricacy of the musical ensembles in The Marriage of Figaro has been particularly noted; unusually for the time, they carry the drama’s action as … Lorenzo Da Ponte wrote a preface to the first published version of the libretto, in which he boldly claimed that he and Mozart had created a new form of music drama: In spite ... of every effort ... to be brief, the opera will not be one of the shortest to have appeared on our stage, for which we hope sufficient excuse will be found in the variety of threads from which the action of this play [i.e. The Count mulls over the confusing situation. It heard many a bravo from unbiased connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their St! The ensuing discussion reveals that Figaro is Raffaello, the long-lost illegitimate son of Bartolo and Marcellina. (“Hai già vinto la causa!“) He vows that Figaro will marry Marcellina. The Countess's music teacher who is also doing his best to get her to succumb to the Count's advances. A typical performance lasts around 3 hours. Never again will you chase girls around the castle, Cherubino, you “farfallone amoroso,“ you amorous butterfly! In their comic opera, Mozart and Da Ponte depict a broad range of ideas about love, fidelity and power. Those revival performances were a hit, but it took almost 200 years until NYC audiences could hear a Figaro with the substitute arias. Mozart's Figaro got nine performances during its initial run in Vienna, but Paisiello's Barbiere had been done 38 times in the years leading up to Mozart's premiere and would remain the favorite of the Viennese during most of Mozart's life. Wolfgang Amadeus Mozart. And even worse, he is partially undressed. The Countess dictates a love letter for Susanna to send to the Count, which suggests that he meet her (Susanna) that night, "under the pines". venti."" Mozart keeps it all together with some of opera's most memorable arias and a couple that are regularly cut—and were only included originally because every major character had to have their own aria in the 1700s (whether the narrative required it or not!). The opera's libretto is based on the 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro("The Mad Day, or The Marriage of Figaro"). Beschreibung Wiederaufnahme der Produktion im Jahr 2014 mit Ildar Abdrazakov und Erwin Schrott in Figaro, die bereits 2016 und 2017-2018 wiederholt wurden. Figaro, Susanna, and the Countess attempt to discredit Antonio as a chronic drunkard whose constant inebriation makes him unreliable and prone to fantasy, but Antonio brings forward a paper which, he says, was dropped by the escaping man. Based on Pierre-Augustin Caron de Beaumarchais’s 1784 play Le Mariage de Figaro… Bartolo’s housekeeper who loaned Figaro a substantial amount of money with the assurance that he pay her back or marry her. The new rival was Nancy Storace, who three years later became the first Susanna in Figaro. The chorus continues to sing about faithful lovers. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Mozart's great comic opera is a tale of intrigue, misunderstanding and forgiveness. Opernhaus aktualisiert : The Metropolitan Opera. A partly furnished room, with a chair in the centre. After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring (which would be necessary to make it an official document). 2, has mostly remained in cartoons, but unlike Hungarian Rhapsody No. [4] The libretto was approved by the Emperor before any music was written by Mozart. Susanna triumphs in the exchange by congratulating her rival on her impressive age. All in all it is a rollicking good night at the opera. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber, a tenor, into a scheming, bullying, skirt-chasing baritone. According to, These were: 3, 8, 24 May; 4 July, 28 August, 22 (perhaps 23) of September, 15 November, 18 December, From Kazinczy's 1828 autobiography; quoted in, Performance dates: 29 and 31 August; 2, 11, 19 September; 3, 9, 24 October; 5, 13, 27 November; 8 January 1790; 1 February; 1, 7, 9, 19, 30 May; 22 June; 24, 26 July; 22 August; 3, 25 September; 11 October; 4, 20 January 1791; 9 February; from, This piece became so popular that Mozart himself, in the final act of his next opera, La folle journée, ou le Mariage de Figaro, "Giunse alfin il momento ... Deh vieni, non-tardar", Fantasy on Themes from Mozart's Figaro and Don Giovanni, "Statistics for the five seasons 2009/10 to 2013/14", "Mozart's Bassoon Concerto, 'a little masterpiece, The New Grove Dictionary of Music and Musicians, International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=The_Marriage_of_Figaro&oldid=998481853, Works based on The Marriage of Figaro (play), Operas based on works by Pierre Beaumarchais, Wikipedia articles needing page number citations from June 2020, Wikipedia articles needing page number citations from May 2020, Articles containing Italian-language text, Articles with unsourced statements from June 2020, Articles with German-language sources (de), Articles with Italian-language sources (it), Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 5 January 2021, at 15:54. The first ever recording of a complete Mozart opera was Figaro, made in 1934 at Glyndebourne, during their inaugural festival. The Count, unable to find "Susanna", enters frustrated. Shamed by his jealousy, the Count begs for forgiveness. If you are a paid subscriber, you will get an email from us every week (Sunday mornings) with content, listening examples, interviews, or other soon-to-be … Susanna and the Countess arrive, each dressed in the other's clothes. She then hides in the closet, closes the door, and waits. Teilen Teilen Folgen. It is all glorious and was apparently Mozart's favorite piece in the whole opera. The Count’s valet. Susanna returns. All beg him to forgive Figaro and the "Countess", but he loudly refuses, repeating "no" at the top of his voice, until finally the real Countess re-enters and reveals her true identity. From here on out, the end of the act is fairly madcap, with Mozart driving the action into an ever-growing tempest. [34] Eight of the opera's 11 characters appear on stage in its more than 900 bars of continuous music. Music elevates every moment, and the flaws of humanity give way to the beauty of compassion. Figaro, not knowing the scheme hatched by Susanna and the Countess, immediately jumps to the wrong conclusion and swears “to avenge all husbands!“ He storms off and Marcellina decides to warn Susanna. Basilio comments on Figaro's foolishness and claims he was once as frivolous as Figaro was. Marcellina says, birthmark?! The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. The opera's libretto is based on the 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). As he lifts the dress from the chair to illustrate how he lifted the tablecloth to expose Cherubino, he finds ... the self same Cherubino! [17], The Emperor requested a special performance at his palace theatre in Laxenburg, which took place in June 1786.[18].

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