The Marriage of Figaro has part(s) Non più andrai
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. It seems the Count is angry with Cherubino's amorous ways, having discovered him 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 alone to step up his demands for favours from her, and offers to pay money if she will submit to him. As Basilio, the music teacher, arrives, the Count, 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 while Susanna scrambles to cover him with a dress.
When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: "Cosa sento!" – "What do I hear!"). He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table. As he lifts the dress from the chair to illustrate how he lifted the tablecloth to expose Cherubino, he finds ... the self same Cherubino! The count is furious, but is reminded that the page overheard the Count's advances on Susanna, information that the Count wants to keep from the Countess. 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 make the Count commit to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied. The Count evades Figaro's plan by postponing the gesture. The Count says that he forgives Cherubino, but he dispatches him to his own regiment in Seville for army duty, effective immediately. 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").Other uses of the melodies
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. Mozart also quotes Figaro's aria "Non più andrai" in the second act of his opera Don Giovanni. Further, Mozart used it in 1791 in his Five Contredanses, K. 609, No. 1. Mozart reused the music of the "Agnus Dei" of his earlier Krönungsmesse (Coronation Mass) for the Countess's "Dove sono", in C major instead of the original F major. Mozart also reused the motif that begins his early bassoon concerto in another aria sung by the Countess, "Porgi, amor". Beethoven wrote Variations on 'Se vuol ballare'code: eng promoted to code: en , WoO 40, for violin and piano on Figaro's cavatina. Ferdinand Ries used music from the opera in his Fantasies on Themes from 'Le Nozze di Figaro'code: eng promoted to code: en , Op. 77.  Moscheles used the duettino  "Crudel! perchè finora" in his Fantaisie dramatique sur des Airs favoris, Bijoux à la Malibran for piano, Op. 72/4. Johann Nepomuk Hummel quoted it in his Fantasia über 'Le nozze di Figaro', Op. 124. Franz Liszt quoted the opera in his Fantasy on Themes from Mozart's Figaro and Don Giovanni S. 697.
In 1819, Henry R. Bishop wrote an adaptation of the opera in English, translating from Beaumarchais's play and re-using some of Mozart's music, while adding some of his own.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.
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