Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of theWINDOW and broken his flowerpots of carnations. The instrumentation of the recitativi is not given in the score, so it is up to the conductor and the performers. Furious and suspicious, the Count leaves, with the Countess, in search of tools to force the closet door open. Here's the thing about Le Nozze di Figaro (The Marriage of Figaro). His victory is, however, short-lived: Marcellina, Bartolo, and Basilio enter, bringing charges against Figaro and demanding that he honor his contract to marry Marcellina. In a panic, the Countess hides Cherubino in her closet and lets her husband in. Tormey is incredibly grateful for the support of the Ian Donald Wilson Memorial Scholarship for allowing him to pursue this wonderful opportunity and for the support of the talented and dedicated team at the Berlin Opera Academy. A typical performance usually lasts around 3 hours. The first production was given eight further performances, all in 1786. Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K. 492, is an opera buffa (comic opera) composed in 1786 in four acts by Wolfgang Amadeus Mozart, with Italian libretto by Lorenzo Da Ponte, based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). Figaro premiered at the Burgtheater in Vienna on 1 May 1786, with a cast listed in the "Roles" section below. Orsini-Rosenberg had favoured another librettist over Da Ponte, and he was not inclined to make the production go smoothly. 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 signetRING (which would be necessary to make it an official document). He then fully admits it and as things start making sense for the Count, Antonio the gardener arrives. The third act opens to a large and stylish room. She currently serves on its Board of Directors and... What musical group wrote the first "rock opera"? [9] Joseph II, who, in addition to his empire, was in charge of the Burgtheater,[10] was concerned by the length of the performance andDIRECTED his aide Count Rosenberg as follows: To prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public (that no piece for more than a single voice is to be repeated) to be the most reasonable expedient. (This aria and Basilio's ensuing aria are usually omitted from performances due to their relative unimportance, both musically and dramatically; however, some recordings include them.). Bartolo departs, Susanna returns, and Marcellina and SusannaSHARE an exchange of very politely delivered sarcastic insults (duet: Via resti servita, madama brillante – "After you, brilliant madam"). Home | Figaro teases the boy, who now must trade his pursuit of women for the “glories” of war (“Non più andrai, farfallone amoroso”). Marcellina warns them that Figaro is hiding somewhere, suspicious of Susanna. 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. As Basilio, the slimy music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. 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". He reveals that he recognized the voice he loved and knew who she was in "Pace, pace, mio dolce tesoro" ("Peace, peace, my sweet treasure"). Mozart "recycled" the music of theAgnus Dei of his Krönungsmesse (Coronation Mass) for the Countess' Dove sono, in C major instead of the original F major. But it's the women in Figaro for whom Mozart reserves his most affecting music, the Countess's aria at the start of the second act, the first time we meet her, Porgi, amor which is simultaneously refined, poised, and tragic; and all of Susanna's music, especially her fourth act aria, Deh vieni. Figaro enters and explains his plan to distract the Count with anonymous letters warning him of adulterers. The Count hears it and decides to avenge himself in his aria "Hai già vinta la causa! "), the Count wanting to make sure that Susanna is not just taunting him. Everyone leaves the room, Barbarina, the gardener's daughter, enters followed by Cherubino whom she is about to transform into a woman, following the Countess' plan. The real Countess then comes back, both Susanna and herself remove their disguises, and the Count seems to understand the lesson that he has been taught. Why not register today and enjoy the following great benefits: Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to obtain the favors of Figaro's bride-to-be, Susanna. She then runs off when she hears a sound, caused by Figaro bashing his fist, as does the Count, who knows Figaro is nearby and doesn’t wish to be interrupted. The Count, unable to find "Susanna", enters frustrated. The Countess and Susanna resume their plan and together write a love letter for the Count, telling him to meet in the garden tonight in their duet "Sull'aria...che soave zeffiretto" ("On the breeze... What a gentle little zephyr"). Find album reviews, stream songs, credits and award information for Mozart: Soprano Arias from the Marriage of Figaro; Exsultate, jubilate - Lyne Fortin on AllMusic Bartolo leaves to put his scheme into effect. The Count and Countess return.