Le nozze di Figaro ossia la folle giornata (Trans: The Marriage [lit.
Wedding] of Figaro or the Day of Madness), 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.
Synopsis
The Marriage of Figaro is a sequel 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 piъ 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 piъ 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 honor of the Countess (aria: Voi,
che sapete che cosa й 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, perchй 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 giб 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 was 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 shows up 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 (Piъ dolcile io sono —
"I am more kind"), forgives her husband and all are contented. They celebrate as
the curtain falls
Ballet in two acts to the music by V.A. Mozart and J. Rossini.
Libretto by Andrei Petrov, based on the comic dilogy of P.O. Beaumarchais.
Choreography, production and musical version of the People’s Artist of the Russian Federation, Moscow Prize winner Andrei Petrov
Artist - set designer - Honored Art Worker of the Russian Federation Grigory Belov
Costume Designer - Olga Polyanskaya
Orchestration of vocal numbers of the winner of the International Competition Vladimir Kachesov
The assistants to the choreographer are Honored Artist of the Russian Federation Lyudmila Charskaya and Honored Artist of the Russian Federation Valery Ryzhov.
The performance is accompanied by the Orpheus Radio Symphony Orchestra. Artistic director and chief conductor - Sergey Kondrashev.
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