Marriages of Figaro - SpeedyLook encyclopedia

Characters

Great outdoors

Air of Barber “Not più will andrai”
Air of Barber “vuol ballare”
Air of Chérubin “Voi che sapete”
Air of the countess “Porgi, amor”
Récitatif and air of the countess “E Susanna not vien… Dove sound system”
Récitatif and air of Suzanne “Giunse alfin it momento… Deh vieni, not tardar”
Récitatif and air of the count “Hai gia vinta caused it… Vedro metrio so spiro”

Intrigue

This opera is the direct continuation of the barber of Seville . Rosina is now the Almaviva countess; her husband, however, is not a paragon of virtue. He seeks the love of the girl of Antonio, Barbarina, and of the chambermaid of his wife, Susanna, which must marry Figaro entered to the service of the Count. He however is competed with by Cherubino, the page, which is in love with all the women and in particular with the countess. On its side, Marcellina helped of Bartolo wants to prevent the weddings of Susanna and Figaro because this last made him a promise of marriage.

Act I

A room only furnished with one armchair. Barber measures space for the placement of the bridal bed, while Susanna tries on a hat decorated with flowers (Duet: “Cinque… dieci… ”). Susanna does not want this room that the count intends to them, and who is near the rooms of their Masters (Duet: “Caso madama is had”), because the Count continues it his assiduities. Barber, remained only, promises to thwart the projects of his Master (Air: “Vuol ballare”). He leaves.

Enter Bartolo and Marcellina, a contract with the hand. She asks him how to oblige Figaro to honor her promise of marriage. Bartolo promises to get busy (Air there: “The vendetta”), then leaves. Marcellina sees Susanna which has just entered and tries to cause it, but that is turned over against it and it leaves (Duet: “Via resti servita”). Cherubino arrives and tells in Susanna that the count only has surprised it with Barbarina and congédié it. It steals in Susanna a ribbon pertaining to the Countess, with which it is in love (Air: “Not so più cosa its, cosa faccio”).

It hides behind the armchair at the entry of the Count, come to reiterate his advances with Susanna and to ask him an appointment. They then hear Basilio which approaches, and the Count hides in his turn behind the armchair, while Cherubino leaps above, and that Susanna recovers it of a dress. But the Count ends up discovering it (Trio: “Cosa sento! Tosto andate, E scacciate it seduttor”). Cherubino is only saved by the entry of Barber with a group of peasants, come to thank their Master for having abolished the Droit of cuissage in its field (Chorus: “Giovinete liete”). Barber requests from the Count his blessing for the marriage, but this one temporizes and decides to send Cherubino to the regiment. Barber then claims to make fun of him of describing the military life to him, but says to him low that it must speak to him before his departure (Air: “Not più will andrai, farfallone amoroso”).

Act II

Room of the countess. The countess cries the inaccuracy of her husband. (Aria: “holy source of my desires. ”) Susanna makes enter Cherubino and it gets dressed with clothing with woman so that it can follow the marriage. (Aria of Cherubino: “you, who know the desires of my heart. ”) They relative his hair. (The aria of Susanna: “, put you come nearer at knees before me. ”) Arrived from the count, Cherubino goes in the close room, which the count wishes to enter, having intended somebody to move. The countess makes believe that it is only Susanna, and the count, closing all the doors, takes leave of the countess to find a certain way of entering the room. (Terzett: “now, then, will it be made soon? ” Duet: “by the countess, then I to ask. ”) Susanna releases Chérubin, who jumps of the window and it enters the room of which he is escaped. The count and the countess return. He thinks that Chérubin hid, but finds with his astonishment only Susanna. (Finale: “left, young person scélérat. ”) While waiting, Figaro, who fears the galanteries of the count, tries to prevent it from appearing with his marriage by an anonymous letter, but questioned by the countess acknowledges that he wrote it.

When Antonio, the gardener, introduced a letter, that he says to be left by a man who is escaped by the window, Figaro tells that he was with Susanna. The document, however, proves to be the nomination of Chérubin as officer and Figaro leaves this embarrassment by presenting it to the count with an aim of fixing his seal, which missed. Marcellina, Bartholo and Basilio appear now, and the old one brings its load against Figaro. The marriage is deferred so that the count can inquire.

Act III

The festive room. The count is embarrassed by the preceding presences and, at the request of the countess, Susanna agree to meet it in the garden. She initially changes with her (Duet: “I languished a long time”). Susanna called to low voice with Figaro that success is now certain and his lawsuit is gained. The count is annoyed (Aria: “will I have my happiness? ”). The scene of court follows (Sextet, Almaviva, Figaro, Don Guzman, Bartolo, the countess and Susanna: “contemplate your father”), in whom it appears that Figaro is the natural son of Marzelline and Bartholo, and thus which it cannot probably marry controlling it. The countess is left only (Récitatif and the aria: “and Susanna does not come”), when the young lady arrives and announces the good news. The countess dictates a love letter with Susanna so that it sends it (Duet: “That do I make now? ”). The count must return the pin which attaches the letter, to show that it received it. A chorus of young peasants, among them Cherubino, gives a serenade to the countess (“Countess, pinks”). The count arrives with Antonio and, discovering the page, puts himself in anger, but is alleviated by Susanna. He is wounded with the finger with the pin of the letter, which opposes it still more (Mars and finale: “leave us”). The act is completed with an invitation with the banquet of the evening (Chorus: “faithful lovers with decorated crowns”).

Act IV

In the garden (sometimes preceded by a scene in the corridor). According to the directives in the letter, the count sent Barbarina with the pin, but it lost it (Aria: “small unhappy pin”). Barber learns his significance by Barbarina (Récitatif and aria: “all is well, the hour is near”). Mû by the jealousy, it encourages Bartholo and Marcellina to also come to the garden and to attend the interview between the count and Susanna. Marzelline informs Susanna of this plan (Aria: “the approaches of hour” and “Do not remain, the dear love”). The countess arrives in the dress of Susanna; Chérubin seeks to embrace that which he believes Susanna being, but is prevented by the intervention of the count, who believes to strike Chérubin, and reaches Figaro by it. The count continues that which it takes for Susanna, which escapes to him, when true Susanna arrives in clothing of the countess. Barber informs him of the intentions of the count, but recognizes his promised young person. He enters his play by expressing to him respect as for the countess and into sudden the consequences! They make peace, however, and it continues to play its part. As the count appears, he declares his love and fall to knees to his feet. The count calls his people with the rescue. Lights appear and everyone is recognized, with the confusion of the count, who does not have any more any excuse. The protagonists, finally reconciled, take part all in the final rejoicings.

Uses

Of Ludwig Van Beethoven: 12 variations for piano and violin according to “vuol ballare”

the air che soave zeffiretto belongs to the music of the film The Barber Frères Coen (2001).
the air “Ho perduta” belongs to the music of the film accompanying the of Claude Miller in 1992 and of the Témoins of Andre Techine in 2007.
an extract of the opening belongs to the music of the film Last Action Hero of John McTiernan (1993).
an extract of the opening belongs to the music of the film an armchair for two of John Landis in 1983.
an extract of the opening belongs to publicity for the sauces Barilla in 2002.
the air Non più andraï was used in a publicity for Renault in 1992.

See too

External bonds

Pages of the partition on the site of Indiana University School off Music
Mozart in Vienna Where Mozart wrote the Marriages of Figaro. (video)

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