THE MARRIAGE OF FIGARO.
"Le Nozze di Figaro," in the German version, "Die Hochzeit des Figaro," an opera buffa in four acts, the words by Lorenzo da Ponte, after Beaumarchais's comedy, "Le Mariage de Figaro," was first produced at the National Theatre, Vienna, May 1, 1786, with the following cast:—
COUNTESS ALMAVIVA Signora STORACE.
SUSANNA Signora LASCHI.
CHERUBINO Signora MANDINI.
MARCELLINA Signora BUSSANI.
BARBARINA Signora GOTTLIEB.
COUNT ALMAVIVA Signor MANDINI.
FIGARO Signor BENUCCI.
BARTOLO Signor OCCHELEY.
BASILIO Signor BUSSANI.
It was first brought out in Paris in 1793, with Beaumarchais's spoken dialogue, in five acts, as "Le Mariage de Figaro," and in 1858 at the Théâtre Lyrique in the same city, in four acts, as "Les Noces de Figaro," with text by Barbiere and Carré. The late Mme. Parepa-Rosa introduced it in this country in its English form with great success.
At the time the libretto was written, Beaumarchais's satirical comedy, "Le Mariage de Figaro," had been performed all over Europe, and had attracted great attention. It had been prohibited in Paris, and had caused great commotion in Vienna. Mozart's notice was thus drawn to it, and he suggested it to Da Ponte for a libretto, and the Emperor Joseph subsequently commissioned the composer to set it to music, though he had already composed a portion of it. The entire opera was written during the month of April, and the wonderful finale to the second act occupied him for two nights and a day. When it came to a performance, its success was remarkable. Kelly, who was present, says, in his Reminiscences: "Never was there a greater triumph than Mozart enjoyed with his 'Figaro.' The house was crowded to overflowing, and almost everything encored, so that the opera lasted nearly double the usual time; and yet at its close the public were unwearied in clapping their hands and shouting for Mozart." Popular as it was, it was soon laid aside in Vienna through the influence of the Italian faction headed by Salieri, one of Mozart's rivals.
The story of the opera is laid in Spain. Count Almaviva, who had won his beautiful Countess with the aid of Figaro, the barber of Seville, becomes enamoured of her maid Susanna, and at the same time, by the collusion of the two, in order to punish him, is made jealous by the attentions paid to the Countess by Cherubino, the page. Meanwhile Figaro, to whom Susanna is betrothed, becomes jealous of the Count for his gallantry to her. Out of these cross-relations arise several humorous surprises. Besides these characters there are two others who have been disappointed in love,—Bartolo, who has been rejected by Susanna, and Marcellina, whose affection for Figaro has not been requited. The Count seeks to get rid of Cherubino by ordering him off to the wars, but he is saved by Susanna, who disguises him in female attire. The Countess, Susanna, Figaro, and Cherubino then conspire to punish the Count for his infidelity. The latter suddenly appears at his wife's door, and finding it locked demands an entrance. Cherubino, alarmed, hides himself in a closet and bars the door. The Count is admitted, and finding the Countess in confusion insists upon searching the closet. He goes out to find some means of breaking in the door, and Cherubino improves the opportunity to jump out of the window, while Susanna takes his place and confronts the puzzled Count. Antonio, the gardener, comes in and complains that some one has jumped from the window and broken his flower-pots. Figaro at once asserts that he did it.
A ludicrous side plot unfolds at this point. Marcellina appears with a contract of marriage signed by Figaro, bringing Bartolo as a witness. The Count decides that Figaro must fulfil his contract, but the latter escapes by showing that he is the son of Marcellina, and that Bartolo is his father. Meanwhile the main plot is developed in another conspiracy to punish the Count. Susanna contrives a rendezvous with the Count at night in the garden, having previously arranged with the Countess that she should disguise herself as the maid, the latter also assuming the part of the Countess, and arrive in time to surprise the two. The page also puts in an appearance, and gets his ears boxed for his attentions to the disguised Countess. Figaro, who has been informed that Susanna and the Count are to meet in the garden, comes on the scene, and in revenge makes a passionate declaration of love to the supposed Countess, upon which the Count, who is growing more and more bewildered, orders lights and makes his supposed wife unveil. The real wife does the same. Covered with confusion, he implores pardon of the Countess, which is readily given. The two are reconciled, and Figaro and Susanna are united.
The whole opera is such a combination of playfulness and grace that it is a somewhat ungracious task to refer to particular numbers. In these regards it is the most Mozartean of all the composer's operas. The first act opens with a sparkling duet between Figaro and Susanna, in which she informs him of the Count's gallantries. As she leaves, Figaro, to the accompaniment of his guitar, sings a rollicking song ("Se vuol ballare, Signor Contino"), in which he intimates that if the Count wishes to dance he will play for him in a style he little expects. In the second scene Bartolo enters, full of his plans for vengeance, which he narrates in a grim and grotesque song ("La Vendetta"). The fourth scene closes with an exquisite aria by Cherubino ("Non so piu cosa son"). After an exceedingly humorous trio ("Cosa sento? tosto andate") for the Count, Basilio and Susanna, and a bright, gleeful chorus ("Giovanni lieti"), Figaro closes the act with the celebrated aria, "Non piu andrai." Of the singing of this great song at the first rehearsal of the opera Kelly says in his Reminiscences: "I remember Mozart well at the first general rehearsal, in a red furred coat and a gallooned hat, standing on the stage and giving the tempi. Benucci sang Figaro's aria, 'Non piu andrai,' with the utmost vivacity and the full strength of his voice. I stood close beside Mozart, who exclaimed, sotto voce, 'Brava! brava! Benucci!' and when that fine passage came, 'Cherubino, alla vittoria, alla gloria militar,' which Benucci gave in a stentorian voice, the effect was quite electrical, both on the singers on the stage and the musicians in the orchestra. Quite transported with delight, they all called out, 'Brava! brava, Maestro! viva! viva! viva il grande Mozart!' In the orchestra the applause seemed to have no end, while the violin-players rapped their bows on their desks. The little Maestro expressed his gratitude for the enthusiasm, testified in so unusual a manner, by repeatedly bowing."
The second act is the masterpiece of the opera, and contains in itself music enough to have made any composer immortal. It opens with a serious aria by the Countess ("Porgi amor") followed by Cherubino's well-known romanza ("Voi che sapete,") one of the sweetest and most effective songs ever written for contralto, and this in turn by Susanna's coquettish song, "Venite, inginocchiatevi," as she disguises Cherubino. A spirited trio and duet lead up to the great finale, begun by the Count, ("Esci omai, garzon mal nato"). Upon this finale Mozart seems to have lavished the riches of his musical genius with the most elaborate detail and in bewildering profusion. It begins with a duet between the Count and Countess, then with the entrance of Susanna changes to a trio, and as Figaro and Antonio enter, develops into a quintet. In the close, an independent figure is added by the entrance of Marcellina, Barbarina, and Basilio, and as Antonio exits, this trio is set against the quartet with independent themes and tempi.
The third act opens with a duet ("Crudel, perche finora") for the Count and Countess, followed by a very dramatic scena for the Count, beginning with the recitative, "Hai già vinta la causa?" which in turn leads up to a lively and spirited sextet ("Riconosci in questo amplesso"). The two numbers which follow the sextet are recognized universally as two of the sweetest and most melodious ever written,—the exquisite aria, "Dove Sono," for the Countess, and the "Zephyr Duet," as it is popularly known ("Canzonetta su l'aria. Che soave zeffiretto"), which stands unsurpassed for elegance, grace, and melodious beauty. The remaining numbers of prominent interest are a long and very versatile buffo aria for tenor ("In quegli anni"), sung by Basilio, Figaro's stirring march number ("Ecco la marcia"), and a lovely song for Susanna ("Deh, vieni, non tardar"). The opera is full of life and human interest. Its wonderful cheerfulness and vital sympathy appeal to every listener, and its bright, free, joyous tone from beginning to end is no less fascinating than the exquisite melodies with which Mozart has so richly adorned it. Like "Don Giovanni" and the "Magic Flute," the best test of the work is, that it is rounding its first century as fresh and bright and popular as ever.