Who Composed The Marriage Of Figaro Who Composed The Marriage Of Figaro 14 Aug, 2011 who composed 0 The Marriage Of Figaro is a well known comic opera. It is based on a play written by Pierre Beaumarchais in 1784, which was originally banned in Vienna because of its controversial content. The play is now recognized as a key feature of the French Revolution. In fact, Napoleon Bonaparte called it “a revolution in action.” This controversy helped to make the opera a runaway success. To find out who composed this famous and controversial opera, continue reading to find out. Who composed The Marriage Of Figaro? The Marriage Of Figaro was composed by Wolfgang Amadeus Mozart, best known simply as Mozart, in 1786. He completed the work quickly, but although there are reports he wrote it in only 6 weeks the evidence for this has not been found. The Italian text written for the opera was written by Lorenzo Da Ponte. It opened in Vienna in 1786 and due to the subject of this opera, it quickly became one of Mozart’s most successful compositions.

The musical complexity of this opera was never seen before and it caused some problems for the performers. Even though many of his operas are no longer performed, The Marriage Of Figaro is still being performed today (ranked 5th for the most performed today). It is still considered to be one of the most important operas ever written. Related Articles The Marriage of Figaro - Mozart Music with Ease > Opera Before 1800 > The Marriage of Figaro (Mozart) The Marriage of Figaro (Italian title: Le Nozze di Figaro) An Opera by Wolfgang Amadeus Mozart Mozart set to work on "Figaro" in 1785, having at this date been ordered by the Emperor Joseph to write an opera for Vienna. Da Ponte was again the librettist, founding his text on Beaumarchais famous comedy, "Le Mariage de Figaro," which had lately been creating a stir in Paris. The opera has no regular, well-defined plot. It is rather a succession of awkward and humourous situations, calling forth an abundance of sparkling repartee.

The imbroglio is "often exceedingly difficult"; but while not easy to make clear in writing, it is easy enough to follow on the stage. Cherubino hides behind Susanna's chair as the Count arrives, in Mozart's opera The Marriage of Figaro, Act 1. (19th century illustration.) The scene is laid at the country-house of Count Almaviva, the character in whom the chief amusement of the opera centres. With accommodating notions of morality himself, he is very jealous of the conduct of his Countess, whom he suspects of being rather too fond of an over-grown page, Cherubino. The Count is carrying on a flirtation with Susanna, the Countesss maid; and the droleries of the opera hang to a large extent on the incidents thus afforded. Susanna is about to be married to Figaro, the Counts valet; but the Count offers her a dowry if she will meet him that evening. She declines, and Figaro presently appears, requesting the Count to honour his marriage by giving away the bride. The Count agrees, but delays the ceremony in order to renew his suit with Suzanna.

Meanwhile, Susanna has joined with the Countess and Figaro in a plot to discomfit the Count. An anonymous letter, written by Figaro, tells the Count of certain assignations which have been made for the evening in the garden. Various diverting contre-temps arise out of this plot; and further hilarity is created when Bartolo and Marcellina, an aged couple, enter. Bartolo had been rejected by Susanna, and Marcellina had been unable to excite the tender passion in Figaro. But Figaro had promised to marry Marcellina if he failed to repay her an old debt within a certain time; and the payment not having been made, she now comes to claim her bridegroom. The Count, delighted at this turn of affairs, promises that she shall get her rights. The Second Act is "mainly devoted to clearing up the various difficulties." It turns out that Figaro is the long-lost son of Bartolo and Marcellina. Then, in continuance of the plot above-mentioned, the Countess disguises herself as Susanna, and at the place of assignation, the Count ardently avows his passion to his own wife.

He discovers his mistake and promises amendment, and he and the Countess mutually forgive each other their little flirtations. Figaro weds Susanna, and "alls well that ends well." Da Ponte declared that Mozart wrote the whole of "Figaro" in six weeks. Mozarts note-books hardly bear this out, but at any rate the time occupied was very short. In the score we admire the spontaneous growth and continuity of the whole organism, the psychological truth and depth of sentiment which make the individual characters so life-like; resulting from these, the striking harmony in the use of means and forms, and the mixture of dignity and grace, all founded on something higher than mere sensuous beauty. While listening, "we feel the throbbing of our own life-blood, recognise the language of our own hearts, and are captivated by the irresistible charm of unfading beauty: it is art, genuine, immortal, making us free and happy." Mozart never excelled the melodic beauty of some of the numbers. What could be finer than the Countesss aria, "Dove sono"; Cherubinos "Voi che sapite"; or Figaros duet with Susanna?

The verve and brightness of the music force themselves on the pleased attention throughout; and when all is over, so true is the picture, that, as Mr. Streatfeild says, one comes away with the feeling of having assisted in an actual scene in real life. Such music can never grow old, though modern realism may demand something different. The opera was brought out on May 1, 1786, in face of the most elaborate intrigues against it, and was received with the attention it deserved. Even at the rehearsal its success was most decided; when, according to Michael Kelly (an Irish tenor who was in the cast under the name of "Signor Ochelly"), the enthusiasm of singers and orchestra rose to fever heat. Kelly says: "I remember that at the first rehearsal of the full band Mozart was on the stage, with his crimson pelisse and his gold-banded cocked hat, giving the time of the music to the orchestra. I shall never forget the little animated countenance when lighted up with the glowing rays of genius.

It is as impossible to describe it as it would be to paint sunbeams." He goes on to tell how at one point, "those in the orchestra I thought would never have ceased applauding by beating the bows of their violins against the music desks. The little man acknowledged by repeated obeisances his thanks for those distinguishing marks of enthusiastic applause bestowed upon him." This was at the rehearsal. At the public performance the furore was equally remarkable. All the principal numbers were re-demanded. Indeed, so numerous were the encores that the performance lasted nearly twice the time that had been calculated upon. The success, too, of the first night was maintained at subsequent representations. At the second performance, one duet had to be sung three times. So trying, in fact, did the encores become that the Emperor forbade them for the future. Kelly accounts how Joseph II., after issuing this order, spoke to some of the leading artists on the subject. "I daresay," he said, "you are pleased at my having put a stop to encores. It must be fatiguing for you to repeat so many songs." The artists obsequiously signified their agreement.

But Kelly, who was standing by, boldly said to the Emperor: "Do not believe them, Sire; they all like to be encored. At least, I am sure I always do." And Kelly was right; for what singer does not welome the compliment of an encore? Soon afterwards, the opera was given at Prague, where its reception was even more enthusiastic. "The one subject of conversation," wrote Mozart to his father, "is Figaro; nothing is played, whistled, or sung but Figaro; nobody goes to any opera but Figaro; everlastingly Figaro." And we have so few chances of going to "Figaro" now! Search this Site The Marriage of Figaro Posthumous portrait of W.A. Mozart by Kraft (1819) Figaro, a valet - Georgios Papadimitriou (Nov. 16 & 24), David Tillistrand (Nov. 17 & 23) Susanna, a maid - Jenny Ribeiro (Nov. 16 & 24), Maryam Amatullah-Wali (Nov.

17 & 23) Count Almaviva - Julian Whitley (Nov. 16 & 24), Kuwon Lee (Nov. 17 & 23) Countess Almaviva - Christina Rohm (Nov. 16 & 24), Alexis Cregger (Nov. 17 & 23) Cherubino, a page - Danielle Horta (Nov. 16 & 24), Jennie Mescon (Nov. 17 & 23) Dr. Bartolo - John Schenkel (Nov. 16 & 24), Peter Ludwig (Nov. 17 & 23) Marcellina, his housekeeper - Christa Hylton (Nov. 16 & 24), Elena Sandella (Nov. 17 & 23) Don Basilio, a music master - Alejandro Salvia (Nov. 16 & 24), Gregory Couba (Nov. 17 & 23) Antonio, a gardener - Gene Howard (Nov. 16 & 24), Jacopo Buora (Nov. 17 & 23) Barbarina, his daughter - Nicole Leone (Nov.

16 & 24), Yoko Yamashita (Nov. 17 & 23) Don Curzio, a lawyer - Brian Ribeiro (Nov. 16 & 24), Christopher Sierra (Nov. 17 & 23) Duet - Shannon Alexander & Heather Antonissen (Nov. 16 & 24), Aline Mayne & Alexis Thomason (Nov. 17 & 23) Covers Figaro: Cole Grissom; Susanna: Page Lucky; Count: Charles Gray; Countess: Elise Brancheau; Cherubino: Heather Antonissen; Marcellina: Traci Djonne Schanke; Bartolo: Jacopo Buora; Basilio: Daniel Kerr; Barbarina: Lauren Kelleher The Story The Marriage of Figaro (Le nozze di Figaro) is set in Count Almaviva’s castle in Seville in the late 18th Century.

It is based on Beaumarchais’s 1784 play La Folle Journée, ou Le Mariage de Figaro, a sequel to his earlier play, Le Barbier de Séville (The Barber of Seville), familiar to opera audiences through Rossini’s great opera (Mozart’s opera premiered in 1786; Rossini’s premiered in 1816). In Le Barbier, Count Almaviva, with substantial help from Figaro, wooed and won the lovely Rosine away from her crusty old ward and would-be husband, Dr. Bartholo. In The Marriage of Figaro, Beaumarchais continued their story. The Count has married Rosine but their marriage has gone sour because of his philandering. Figaro has quit barbering and is now the Count’s major-domo. He is engaged to Suzanne, who is Countess Rosine’s maid — and the Count’s intended conquest. Old Bartholo is back to seek revenge on Figaro for taking Rosine away from him, with the help of the slimy music-master, Don Bazile.

Adding to the fun are an amorous teenager, a scheming old maid, a drunken gardener, and a silly young girl. Much happens on a single “folle journée” — a crazy day. Mozart’s librettist, Lorenzo da Ponte, took this popular play, removed “political” content that would have offended the Viennese imperial censors (the French Revolution was only a few years away), and faithfully translated the rest into Italian — the customary opera language of the day. With Mozart’s masterpiece of a score, the result was a witty yet profound tale of love, betrayal, and forgiveness. Note: The synopsis below reflects a change in the traditional order of the Count and Countess’s arias in Act III. See this article (reproduced for nonprofit educational purposes only) for an explanation of the change. Act I An empty room in Count Almaviva’s castle. Figaro is measuring a space for his nuptial bed while his fiancée, Susanna, tries on her bridal hat. She doesn’t like their new bedroom. Figaro doesn’t understand why, as it’s very convenient to the bedrooms of the Count and Countess.

But Susanna warns Figaro that it’s too convenient for the Count, who is plotting with her music-master, Don Basilio, to get her to sleep with the Count. Susanna goes off when the Countess rings for her. Alone, Figaro vows revenge (“Se vuol ballare, signor Contino”) and storms off in a cold rage. Dr. Bartolo enters with his housekeeper, Marcellina. Figaro once promised to marry her, and Bartolo promises to find a way to make him do it. It would be the perfect revenge on Figaro, who blocked his marriage to Rosina. Bartolo goes off to put his scheme into effect. Susanna returns, and Marcellina jealously spars with her, making Marcellina go off in a huff. The teenaged page Cherubino now enters. He tells Susanna that he is in love with the Countess, but the Count has caught him with young Barbarina (Susanna’s cousin and the gardener Antonio’s daughter). Cherubino can’t contain his romantic desires (“Non so più cosa son, cosa faccio”).

Cherubino hides behind a chair when the Count arrives to beg Susanna for a tryst before he goes to London with Figaro on diplomatic business. But his wooing is interrupted by the arrival of Don Basilio, and it’s the Count’s turn to hide. He heads for the same chair where Cherubino is hiding, forcing the boy to jump into the seat. Susanna hastily covers him with a cloth. Hearing Basilio’s insinuating gossip about Cherubino and the Countess, the jealous Count reveals himself. Basilio of course concludes that the Count and Susanna are an item. This is all too much for Susanna, who begins to faint. The Count and Basilio rush to her aid and try to get her into the chair, but she revives just in time and orders them away. The Count vows to make Cherubino leave the castle. When Susanna expresses sympathy for the boy, the Count tells her that it’s not the first time Cherubino has been caught with a female. Recalling how he found the page hiding under a tablecloth in Barbarina’s room, he lifts the cloth concealing Cherubino. The Count now accuses Susanna of dallying with the boy.

But their argument is interrupted by the arrival of Figaro and a group of peasants, who, at Figaro’s instigation, are singing the Count’s praises for having abolished the feudal right of the lord of the manor to sleep with his servant’s bride. Figaro invites the Count to place the bridal veil on Susanna as a symbol of his blessing on their marriage, which is to take place later that day. The Count is forced to agree, but privately vows to help Marcellina marry Figaro instead. He also gets Cherubino out of the way by drafting him into his regiment. Figaro teases the boy, for he’ll have to sacrifice his love-making and enjoy instead the “glories” of war (“Non più andrai, farfallone amoroso”). Act II The Countess’s boudoir. The Countess bemoans the Count’s infidelity (“Porgi, amor”). Susanna has told her about the Count’s plans to seduce her. Figaro arrives. He knows that the Count is plotting to help Marcellina. He has his own plan: through Basilio, he will send the Count an anonymous note about the Countess’s “lover.” This is sure to drive him to distraction.

Meanwhile, Susanna is to agree to meet the Count in the garden, only it will be Cherubino, disguised as Susanna, he will be wooing. The Countess can then surprise him in flagrante delicto. Figaro goes off to get the boy. Cherubino arrives and, at Susanna’s urging, sings the Countess a love song that he wrote for her (“Voi che sapete”). He shows the Countess his regimental commission, which he had just gotten from Basilio. She and Susanna realize that it has no seal on it. Figaro has told Cherubino of the plan, and Susanna begins to dress the uncomfortable boy as a woman. When she goes into another room to get a ribbon, he takes advantage of her absence to declare his love for the Countess. At that moment, the suspicious Count bangs on the door, and Cherubino dives into the closet. The Count demands to know to whom the Countess was speaking, and she tells him it was Susanna, who has gone into another room.

He shows her the anonymous letter that Figaro had written about her “lover.” A noise from the closet obliges the Countess to say that Susanna is in there, not in the other room. Susanna re-enters the room, unseen by the Count and Countess, and realizes that there’s some kind of problem, so she hides behind a screen. As Cherubino cowers, terrified, in the closet, the Count orders “Susanna” out, but the Countess forbids it. The Count is convinced that the Countess is hiding a lover in there. As they argue, they warn each other not to go too far and create a scandal. Susanna remains behind her screen, horrified by the situation. The Countess absolutely refuses to open the closet, so the Count brings her with him to get something to break the closet open, locking the door behind him. Susanna lets Cherubino out of the closet. In a panic, he escapes through the window, and Susanna hides in the closet. When the Count and Countess return, she finally admits that Cherubino is in the closet, claiming that it was just a joke. He doesn’t believe her protestations of innocence and threatens to kill Cherubino.

Drawing his sword, he flings open the closet door. They are both astonished to find Susanna. The Count, abashed, is forced to beg his wife’s forgiveness. She and Susanna explain that the episode with the closet, and the anonymous note, were all a prank. Figaro arrives to announce that the wedding is about to begin. Questioned by the Count, he denies writing the anonymous note, to the consternation of Susanna and the Countess. The Count is anxious for Marcellina’s arrival so he can stop the wedding. Now Antonio the gardener barges in, complaining that someone jumped from the Countess’s balcony onto his flower garden. Susanna and the Countess warn Figaro, who had already seen Cherubino jump. He claims that he himself leapt from the balcony. But Antonio claims he saw a boy. The Count immediately realizes that it was Cherubino. Figaro, sticking to his story, claims that Cherubino was on his way to Seville. He explains that he was hiding in the closet waiting for Susanna. After overhearing the Count shouting, he decided to escape by jumping, and injured his foot. He suddenly develops a limp in order to prove his story.

But Antonio produces Cherubino’s military commission, which he found in the garden. Figaro, confounded, throws the gardener out. Prompted by the women, Figaro triumphantly explains that the page gave it to him because it lacks a seal. Marcellina, Bartolo, and Basilio now come to demand justice, claiming that Figaro entered into a contract to marry Marcellina in exchange for a loan. The Count agrees to judge the case, to the joy of Marcellina and the consternation of Figaro. Act III A room in the castle. Alone, the Count ponders the confusing situation. Unseen by the Count, the Countess urges a reluctant Susanna to go ahead with the plan and tell the Count that she will meet him in the garden later. Because Cherubino is gone, the Countess will impersonate Susanna. The Countess takes herself off. Susanna overhears the Count talking to himself about Figaro marrying Marcellina. Emboldened, she approaches him, claiming that she has come to get some smelling salts for the Countess, who is having a fainting fit. He tells her that she should keep it herself, because she is about to lose her intended husband.

She counters that she will repay Marcellina’s loan with the dowry the Count had promised her. But the Count claims he can’t remember any such promise. She has no choice but to flirt with him, and the pact is made. But as she is leaving, she runs into Figaro, and the Count overhears her saying that they have “won the case.” Enraged, the Count threatens to punish them for their betrayal (“Vedrò mentr’io sospiro”). Barbarina convinces Cherubino to come to her house to disguise himself as a girl so he can stay in the castle. The Countess enters, wondering if the plan to catch the Count will work, and recalling sadly the loss of their love (“Dove sono”). She leaves, expressing a hope that she will regain his affections. The judge Don Curzio arrives with Marcellina and Bartolo. He announces that Figaro must marry Marcellina or repay the loan. Figaro claims that he is of noble birth and cannot marry without his relatives’ consent. When the Count asks who they are, Figaro replies that he was stolen as an infant, but hopes to find his parents in 10 years.

Bartolo demands proof, so Figaro shows him a birthmark on his arm — a birthmark that reveals that he is the love-child of Marcellina and Bartolo! The reunited family embrace as the frustrated Count rails against Fate. Meanwhile, Susanna, unaware of this development, arrives with the money to pay Marcellina, only to be enraged by the sight of Figaro and Marcellina fondly embracing. But peace reigns when all is explained to her. The Count storms off with Don Curzio. Bartolo now proposes to Marcellina. Marcellina tears up Figaro’s I.O.U. Bartolo gives Figaro and Susanna a dowry, and Susanna adds to it the money she had come in with. The four, chuckling at the Count’s frustration, go off to plan a double wedding. Antonio and the Count arrive. Antonio tells the Count that he knows that Cherubino is still in the vicinity, because he found at his house the woman’s clothes that Cherubino had been wearing. They run off to look for him.

The Countess returns with Susanna, and the two concoct a note, from Susanna to the Count, asking for a meeting in the garden. They seal the note with a pin, which the Count is to return if he agrees to meet her. Barbarina and some peasant girls, including Cherubino in disguise, come to serenade the Countess. Antonio and the Count return to unmask Cherubino. The Count threatens to punish the boy, but Barbarina persuades the Count — who had once, with kisses, promised her anything she wanted — to let her marry Cherubino. Figaro arrives, eager for the wedding preparations to begin. The Count begins to cross-examine him again, and Antonio produces Cherubino as proof that they’ve caught Figaro lying. But Figaro cleverly claims that it’s possible that both he and Cherubino jumped into the garden. The wedding march begins, and everyone goes off to get ready, leaving the Count and Countess alone. She refuses to discuss the matter with him. The wedding party returns in procession, singing another paean to the abolition of the feudal right to sleep with the bride. Susanna slips the sealed note to the Count.

As the couples dance the fandango, the Count opens the note, pricks his finger on the pin, and then drops it. Figaro watches him with great amusement, believing that it’s a love-note from some unknown lady. The Count finds the pin, thrilled at the prospect of meeting Susanna later, invites everyone to magnificent wedding banquet. Act IV The castle garden. Barbarina, terribly upset, is searching the garden for something that she has lost (“L’ho perduta, me meschina!”). When Figaro arrives with Marcellina and asks the weeping girl what’s wrong, she replies that she has lost the pin that the Count gave her to deliver to Susanna as a token of their tryst. Angry, but pretending that he already knows all about it, he plucks a pin from Marcellina’s dress and gives it to Barbarina, who goes off to give it to Susanna. Figaro collapses into his mother’s arms. She advises him to stay calm, but rage overtakes him and he vows to avenge all deceived husbands. Marcellina, afraid for Susanna, goes off to warn her. Figaro then enlists Basilio and Bartolo to help trap the lovers.

Alone again, he denounces the perfidy of women (“Aprite un po’ quegli occhi”). He hides as Susanna arrives, accompanied by Marcellina and the Countess. Marcellina warns Susanna that Figaro is already in the garden. That suits Susanna just fine, as she can avenge herself on both Figaro for his jealousy and the Count for his philandering. Marcellina retires into the pavilion. The Countess is too nervous to remain, but allows Susanna to stay for a bit to enjoy the breezes. Susanna sings a love song to an unnamed lover to punish the spying Figaro (“Deh, vieni, non tardar, o gioia bella”). Then she hides nearby and puts on the Countess’s cloak. Figaro is furious, but he continues to lie in wait. Cherubino arrives, looking for Barbarina, who has meanwhile hidden herself in the pavilion. At the same time, the Countess enters, disguised as Susanna. Cherubino, not realizing who she really is, begins flirting with her.

The Count comes in and receives the kiss meant for “Susanna.” The Count slaps Cherubino for his impudence, and the boy flees into the pavilion. Now the Count does some flirting of his own with “Susanna,” infuriating Figaro further. The Count tries to lure her into the dark pavilion, but, hearing Figaro’s voice and fearing discovery, tells “Susanna” to go ahead into the pavilion without him. He exits, promising to meet her later. Now the real Susanna arrives, disguised as the Countess. When Figaro hears her voice, he immediately realizes that she is Susanna. He pretends to court “the Countess.” Susanna is furious until he reveals his joke, and they tenderly reconcile. When the Count returns, the couple replay the joke. The enraged Count seizes Figaro and calls for weapons. Susanna flees into the pavilion as Bartolo, Basilio, Antonio, and Curzio rush in. The Count demands that his wife come out of the pavilion. To everyone’s amazement, out pop Cherubino, Barbarina, Marcellina, and Susanna, still dressed as the Countess.

She and Figaro pretend to beg the Count’s forgiveness. He is adamant until the real Countess reveals herself. The chastened Count humbly asks her pardon, she grants it, and everyone rejoices. © 2002 Linda Cantoni Mozart-The Marriage of Figaro - YouTube Mozart-The Marriage of Figaro Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 8, 2008 One of Wolfgang Amadeus Mozart's most well-known pieces, "The Marriage of Figaro," is performed here by an unknown symphonic orchestra. The picture is one of Mozart himself. Enjoy and thanks for watching. Category The Marriage of Figaro (Mozart) - Synopsis The Marriage of Figaro (Italian title: Le Nozze di Figaro) An Opera by W A Mozart Opera in four acts by Mozart; words by Lorenzo da Ponte, after Beaumarchais. Produced at the National Theatre, Vienna, May 1, 1786, Mozart conducting.

Académie de Musique, Paris, as "Le Mariage de Figaro" (with Beaumarchaiss dialogue), 1793; as "Les Noces de Figaro" (words by Barbier and Carré), 1858. London, in Italian, Kings Theatre, June 18, 1812. New York, 1823, with T. Phillips, of Dublin, as Figaro; May 10, 1824, with Pearman as Figaro and Mrs. Holman, as Susanna; January 18, 1828, with Elizabeth Alston, as Susanna; all these were in English and at the Park Theatre. (See conducting paragraph of this article.) Notable revivals in Italian, at the Metropolitan Opera House: 1902, with Sembrich, Eames, Fritzi Scheff, de Reszke, and Campanari; 1909, Sembrch, Eames, Farrar, and Scotti; 1916, Hempel, Matzenauer, Farrar, and Scotti.

CHARACTERS DOCTOR BARTOLO, a Physician . Bass DON BASILIO, a music-master .. Tenor CHERUBINO, a page . Soprano DON CURZIO, counselor at law Tenor COUNTESS ALMAVIVA . Soprano SUSANNA, her personal maid, affianced to FIGARO . Soprano MARCELLINA, a duenna . Soprano BARBARINA, ANTONIOS daughter Soprano Time: 17th Century. Place: The Counts chateau of Aguas Frescas, near Seville. Libretto of Mozart's Le Nozze di Figaro (The Marriage of Figaro), Prague, 1786. "Le Nozze di Figaro" was composed by Mozart by command of Emperor Joseph II., of Austria. After congratulating the composer at the end of the first performance, the Emperor said to him: "You must admit, however, my dear Mozart, that there are a great many notes in your score." "Not one too many, Sire," was Mozarts reply.

(The anecdote, it should be noted, also, is told of the first performance of Mozarts "Cosi Fan Tutti.") No opera composed before "Le Nozze di Figaro" can be compared with it for development of ensemble, charm and novelty of melody, richness and variety of orchestration. Yet Mozart composed this score in a month. The finale to the second act occupied him but two days. In the music the sparkle of high comedy alternates with the deeper sentiment of the affections. Michael Kelly, the English tenor, who was the Basilio and Curzio in the original production, tells in his memoirs of the splendid sonority with which Benucci, the Figaro, sang the martial "Non più andrai" at the first orchestral rehearsal. Mozart, who was on the stage in a crimson pelisse and cocked hat trimmed with gold lace, kept repeating sotto voce, "Bravo, bravo, Benucci!" At the conclusion the orchestra and all on the stage burst into applause and vociferous acclaim of Mozart: "Bravo, bravo, Maestro!

Viva, viva, grande Mozart!" Further, the Reminiscences of Kelly inform us of the enthusiastic reception of "Le Nozze di Figaro" upon its production, almost everything being encored, so that the time required for its performance was nearly doubled. Notwithstanding this success, it was withdrawn after comparatively few representations, owing to Italian intrigue at the court and opera, led by Mozarts rival, the composer Salieri -- now heard of only because of that rivalry. In Prague, where the opera was produced in January, 1787, its success was so great that Bondini, the manager of the company, was able to persuade Mozart to compose an opera for first performance in Prague. The result was "Don Giovanni." The story of "Le Nozze di Figaro" is a sequel to that of "The Barber of Seville," which Rossini set to music. Both are derived from "Figaro" comedies by Beaumarchais. In Rossinis opera it is Figaro, at the time a barber in Seville, who plays the go-between for Count Almaviva and his beloved Rosina, Dr. Bartolos pretty ward.

Rosina is now the wife of the Count, who unfortunately, is promiscuous in his attentions to women, including Susanna, the Countlesss vivacious maid, who is affianced to Figaro. The latter and the music-master Basilio who, in their time helped to hoodwink Bartolo, are in the service of the Count, Figaro having been rewarded with the position of valet and major-domo. Bartolo, for whom, as formerly, Marcellina is keeping house, still is Figaros enemy, because of the latters interference with his plans to marry Rosina and to secure her fortune to himself. The other characters in the opera also belong to the personnel of the Counts household. Aside from the difference between Rossinis and Mozarts scores, which are alike only in that each opera is a masterpiece of the comic sentiment, there is at least one difference between the stories. In Rossinis "Barber" Figaro, a man, is the mainspring of the action.

In Mozarts opera it is Sussana, a woman; and a clever woman may posses in the role of protagonist in comedy a chicness and sparkle quite impossible to a man. The whole plot of "Le Nozze di Figaro" plays around Susannas efforts to nip in the bud the intrigue in which the Count wished to engage her. She is aided by the Countess and by Figaro; but she still must appear to encourage while evading the Counts advances, and do so without offending him, lest both she and her affianced be made to suffer through his disfavour. In the libretto there is much that is risque, suggestive. But as the average opera goer does not understand the subtleties of the Italian language, and the average English translation is too clumsy to preserve them, it is quite possible -- especially in this advanced age -- to attend a performance of "Le Nozze di Figaro" without imperiling ones morals. There is a romping overture. Then, in Act I, we learn that Figaro, Count Almavivas valet, wants to get married.

Susanna, the Countesss maid, is the chosen one. The Count has assigned to them a room near his, ostensibly because his valet will be able to respond quickly to his summons. The room is the scene of this Act. Susanna tells her lover that the true reason for the Counts choice of their room is the fact that their noble master is running after her. Now Figaro is willing enough to "play up" for the little Count, if he should take it into his head "to venture on a little dance" once too often. ("Si vuol ballare, Signor Contino!") Unfortunately, however, Figaro himself is in a fix. He has borrowed money from Marcellina, Bartolos housekeeper, and he has promised to marry her in case of his inability to repay her. She now appears, to demand of Figaro the fulfillment of his promise. Bartolo encourages her in this, both out of spite against Figaro and because he wants to be rid of the old woman, who has been his mistress and even borne him a son, who, however, was kidnapped soon after his birth.

There is a vengeance aria for Bartolo, and a spiteful duet for Marcellina and Susanna, beginning: "Via resti servita, madama brillante" (Go first, I entreat you, Miss, model of beauty). The next scene opens between the page, Cherubino, a boy in love with every petticoat, and Susanna. He begs Susanna to intercede for him with the Count, who has dismissed him. Cherubino desires to stay around the Countess, for whom he has conceived one of his grand passions. "Non so più cosa son, cosa faccio"- (Ah, what feelings now possess me!) The Counts step is heard. Cherubino hides himself behind a chair, from where he hears the Count paying court to Susanna. The voice of the music-master then is heard from without. The Count moves toward the door. Cherubino, taking advantage of this, slips out from behind the chair and conceals himself in it under a dress that has been thrown over it. The Count, however, instead of going out, hides behind the chair, in the same place where Cherubino has been.

Basilio, who has entered, nbow makes all kinds of malicious remarks and insinuations about the flirtations of Cherubino with Susanna and also with the Countess. The Count, enraged at the free use of his wifes name, emerges from behind the chair. Only the day before, he says, he has caught that rascal, Cherubino, with the gardeners daughter Barbarina (with whom the Count also is flirting). Cherubino, he continues, was hidden under a coverlet, "just as if under this dress here." Then, suiting the action to the words, by way of demonstration, he lifts the gown from the chair, and lo! there is Cherubino. The Count is furious. But as the page has overheard him making love to Susanna, and as Figaro and others have come in to beg that he be forgiven, the Count, while no longer permitting him to remain in the castle, grants him an officers commission in his own regiment. It is here that Figaro addresses Cherubini in the dashing martial air, "Non piu andrai, farfallone amoroso" (Play no more, the part of a lover).

Act II. Still, the Count, for whom the claims of Marcellina upon Figaro have come in very opportunely, has not given consent for his valets wedding. He wishes to carry his own intrigue with Susanna, the genuineness of whose love for Figaro he underestimates, to a successful issue. Susanna and Figaro meet in the Countess"s room. The Countess has been soliloquizing upon love, of whose fickleness the Count has but provided too many examples.  "Porgi amor, qual che ristoro" (Love, thou holy, purest passion.) Figaro has contrived a plan to gain the consent of the Count to his wedding with Susanna. The valets scheme is to make the Count ashamed of his own flirtations. Figaro has sent a letter to the Count, which divulges a supposed rendezvous of the Countess in the garden. At the same time Susanna is to make an appointment to meet the Count in the same spot. But, in place of Susanna, Cherubino, dressed in Susannas clothes, will meet the Count. Both will be caught by the Countess and the Count thus be confounded.

Cherubino is then brought in to try on Susannas clothes. He sings to the Countess an air of sentiment, one of the famous vocal numbers of the opera, the exquisite: "Voi che sapete, che cosa è amor" (What is this feeling makes m so sad). The Countess, examining his officers commission, finds that the seal to it has been forgotten. While in the midst of these proceedings someone knocks. It is the Count. Consternation. Cherubino flees into the Countesss room and Susanna hides behind a curtain. The evident embarrassment of his wife arouses the suspicious of her husband, who, gay himself, is very jealous of her. He tries the door Cherubino has bolted from the inside, then goes off to get tools to break it down with. He takes his wife with him. While he is away, Cherubino slips out and leaps out of a window into the garden. In his place, Susanna bolts herself in the room, so that, when the Count breaks open the door, it is only to discover that Susanna is in his wifes room. All would be well, but unfortunately Antonio, the gardener, enters.

A man, he says, has jumped out of the Countesss window and broken a flowerpot. Figaro, who has come in, and who senses that something has gone wrong, says that it was he who was with Susanna and jumped out of the window. But the gardener has found a paper. He shows it. It is Cherubinos commission. How did Figaro come by it? The Countess whispers something to Figaro. Ah, yes; Cherubino handed it to him in order that he should obtain the missing seal. Everything appears to be cleared up when Marcellina, accompanied by Bartolo, comes to lodge formal complaint against Figaro for breach of promise, which for the Count is a much desired pretext to refuse again his consent to Figaros wedding with Susanna. These, the culminating episodes of this act, form a finale which is justly admired, a finale so gradually developed and so skillfully evolved that, although only the principals participate in it, it is as effective as if it employed a full ensemble of soloists, chorus, and orchestra worked up in the most elaborate fashion. Indeed, for effectiveness produced by simple means, the operas of Mozart are models.

But to return to the story. At the trial in Act III, between Marcellina and Figaro, it develops that Figaro is her long-lost natural son. Susanna pays the costs of the trial and nothing now seems to stand in the way of her union with Figaro. The Count, however, is not yet entirely cured of his fickle fancies. So the Countess and Susanna hit upon still another scheme in this play of complications. During the wedding festivities Susanna is to contrive to send secretly to the Count a note, in which she invites him to meet her. Then the Countess dressed in Susannas clothes, is to meet him at the place named. Figaro knows nothing of this plan. Chancing to find out about the note, he too becomes jealous -- another, though minor, contribution to the mixup of emotions.

In this act the concoction of the letter by the Countess and Susanna is the basis of the most beautiful vocal number in the opera, the "letter duet" or Canzonetta sull aria (the "Canzonetta of the Zephyr") -- "Che soave seffiretto" (Hither gentle zephyr); an exquisite melody, in which the lady dictates, the maid writes down, and the voices of both blend in comment. The final Act brings about the desired result after a series of amusing contretemps in the garden. The Count sinks on his knees before his Countess and, as the curtain falls, there is reason to hope that he is prepared to mend his ways. Regarding the early performances of "Figaro" in this country, these early performances were given "with Mozarts music, but adapted by Henry Rowley Bishop." When I was a boy, a humorous way of commenting upon an artistic sacrilege was to explain: "Ah!

Mozart improved by Bishop!" I presume the phrase came down from these early representations of "The Marriage of Figaro." Bishop was the composer of "Home, Sweet Home." In 1839 his wife eloped with Bochsa, the harp virtuoso, afterwards settled in New York, and for many years sang in concert and taught under the name of Mme. Anna Bishop. Search this Site The Marriage of Figaro: Overture - Wolfgang Amadeus Mozart - YouTube The Marriage of Figaro: Overture - Wolfgang Amadeus Mozart Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Feb 20, 2014 //Song : The Marriage of Figaro overture //Composer: wolfgang amadeus mozart Standard YouTube License Music Mozart - The Marriage of Figaro - Classic FM Become a VIP Mozart - The Marriage of Figaro Mozart wrote forty-one symphonies and twenty-seven piano concertos.

And yet the work which said everything for him, the genre of music he truly thought to be the crucial currency of a composer, was the opera . Mozart considered opera to be the supreme musical language, where everything was perfectly possible and, with a genius such as Mozart’s, possibly perfect. Mozart would have just hit thirty and had been enjoying one of his most successful periods when The Marriage of Figaro received its premiere. He was in Vienna, at the centre of the musical world and away from what he considered the parochial restrictions of his native Salzburg. One contemporary reporter, who was lucky enough to witness Mozart himself directing the entire opera from the keyboard, said, ‘Mozart directed the orchestra, playing his fortepiano; the joy which this music causes is so far removed from all sensuality that one cannot speak of it. Where could words be found that are worthy to describe such joy?’ Apart from the wonderful Overture , vocal highlights include the divine ‘Sull’aria’ duet, and the aria ‘Porgi’.

Recommended Recording Carol Vaness; Nuccia Focile; Alessandro Corbelli; Alastair Miles; Susanne Mentzer; Scottish Chamber Orchestra and Chorus; Charles Mackerras (conductor). Telarc: 3CD80725. Illustration: Mark Millington

Question: Who composed "The Marriage of Figaro"?
Answer: Wolfgang Amadeus Mozart