Cherubino wants Susanna to ask the Countess to intercede on his behalf.

It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.

It was Mozart who originally selected Beaumarchaiss play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the originals political references.

In particular, Da Ponte replaced Figaros climactic speech against inherited nobility with an equally angry aria against unfaithful wives.

The libretto was approved by the Emperor before any music was written by Mozart.

Mozart himself conducted the first two performances, conducting seated at the keyboard, the custom of the day.

Later performances were conducted by Joseph Weigl.

The first production was given eight further performances, all in 1786.

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.

You will therefore cause some posters to this effect to be printed.

It alludes to interference probably produced by paid hecklers, but praises the work warmly.

It heard many a bravo from unbiased connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their St and Pst; and consequently opinions were divided at the end of the piece.

It contains so many beauties, and such a wealth of ideas, as can be drawn only from the source of innate genius.

Mozart directed the orchestra, playing his fortepiano; but the joy which this music causes is so far removed from all sensuality that one cannot speak of it.

Where could words be found that are worthy to describe such joy 15.

This production was a tremendous success; the newspaper Prager Oberpostamtszeitung called the work a masterpiece, 19 and said no piece (for everyone here asserts) has ever caused such a sensation.

Local music lovers paid for Mozart to visit Prague and hear the production; he listened on 17 January 1787, and conducted it himself on the 22nd.

Rosina is now the Countess; Dr.

Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber, a tenor, into a scheming, bullying, skirt-chasing baritone.

Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur his right to bed a servant girl on her wedding night with Figaros bride-to-be, Susanna, who is the Countesss maid.

He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day.

Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming.

Through Figaros and Susannas clever manipulations, the Counts love for his Countess is finally restored.

She is bothered by its proximity to the Counts chambers: it seems he has been making advances toward her and plans on exercising his droit du 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 had the right abolished when he married Rosina, but he now wants to reinstate it.

Figaro had previously borrowed a large sum of money from her, and, in lieu of collateral, had promised to marry her if unable to repay at the appointed time; she now intends to enforce that promise by suing him.

Susanna triumphs in the exchange by congratulating her rival on her impressive age.

It seems the Count is angry with Cherubinos amorous ways, having discovered him with the gardeners daughter, Barbarina, and plans to punish him.

In Quegli Anni In Cui Val Poco Pdf