The Marriage of Figaro is an opera by Mozart. It is part of the opera buffa genre, an Italian opera. Its original title is Le nozze di Figaro, ossia la folle giornata, which means the marriage of figaro or the day of madness. The Librettist is Lorenzo da Ponte, and it is written in Italian. The source of the libretto was a controversial French play by Pierre-Augustin de Beaumarchais. It was composed in 1786, and it includes four acts in total.
Setting
In this opera, there are several characters: Figaro, Susanna, Cherubino, Count Almaviva, Countess Almaviva, Basilio, Dr. Bartolo, Marcellina, and Barbarina. Figaro is a personal valet to the Count and sings in baritone, and Susanna, a personal maid to the Countess, sings in the soprano. Cherubino is a young male page at the palace who is a mezzo-soprano. Count Almaviva is the unfaithful husband of his Countess Almaviva, and they sing in the baritone and soprano. Basilio is the palace gossip and music teacher who sings in the tenor, Dr. Bartolo is the former guardian of the Countess who sings in the bass. Lastly, Marcellina is the former housekeeper of Dr. Bartolo who sings in the mezzo-soprano, and Barbarina is Susanna’s cousin who sings in the soprano.
Plot
The plot of this opera starts off with Figaro and Susanna looking forward to their wedding day. However, the Count wants to seduce Susanna before the marriage takes place. The Countess, who desires her husband’s love, joins Susanna in making a trap for the Count, in which they switch outfits to hide their identities. In the final act, the Count realizes at last after it is too late, the woman he is having a romance with is not Susanna, but his real wife instead. In the last scene, he begs for his wife to forgive him. Some sub-plots are Marcellina attempting to marry Figaro, but discovering that he is actually her long-lost son, as well as teenage Cherubino who had just discovered the joys of love.
Music Analysis
The overture’s characteristics of surprise foreshadow the unexpected events and playful mood of the drama that follows. The first act is “Non so piu”, Cherubino’s Aria. It is in the key of E flat major, ABAC form, Allegro vivace tempo, and in cut time. The setting is in Susanna’s bedroom, where Cherubino sings to her his new feelings, confusions about love, and his immense attraction to women. The melody begins in the middle register and builds higher as he gets more agitated. The phrases are short, suggesting his breathless passion, and the section ends with a spirited authentic cadence.
Next, the recitative “Ah! Son perduto” is introduced. It is a recitativo secco performed by Susanna, the Count, and Basilio. When the Count announces his arrival at Susanna’s bedroom door, Cherubino, scared that he will be seen, hides in the room. When Basilio arrives, the Count, who is also scared of being discovered, hides in the room as well. When Cherubino’s love for the Countess is revealed by Basilio, the Count angrily storms out of his hiding place. Since it is a recitativo secco, it is only accompanied by continuo. It consists of dialogues between Susanna and the Count, then Basilio, unfolding quickly.
The recitative ends with “Cosa sento”, a terzetto still performed by Susanna, the Count, and Basilio. The Count expresses his anger over Cherubino, while Basilio is happy about the trouble he caused. However, Susanna is worried that the Count will discover Cherubino hiding in the room. The conflicts in feelings are expressed. The terzetto uses orchestral accompaniment and employs sonata form, an unexpected application in this context. The first theme is in B flat major, sung by the Count. The bridge is sung by Basilio, and the second theme is in the dominant minor sung by Susanna. Each character expresses their own emotions, creating contrast and a rich musical texture.
Written by The Nine Eves
The Anonymous Helpers (TAH)