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The public , however It heard many a bravo from unbiassed 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! Apart from that, it is true that the first performance was none of the best, owing to the difficulties of the composition.

But now, after several performances, one would be subscribing either to the cabal or to tastelessness if one were to maintain that Herr Mozart's music is anything but a masterpiece of art.

Le nozze di Figaro, K (Mozart, Wolfgang Amadeus) - IMSLP: Free Sheet Music PDF Download

The Hungarian poet Ferenc Kazinczy was in the audience for a May performance, and later remembered the powerful impression the work made on him:. Where could words be found that are worthy to describe such joy? Joseph Haydn appreciated the opera greatly, writing to a friend that he heard it in his dreams. The Emperor requested a special performance at his palace theater in Laxenburg , which took place in June The opera was produced in Prague starting in December by the Pasquale Bondini company.

This production was a tremendous success; the newspaper Prager Oberpostamtszeitung called the work "a masterpiece", [18] and said "no piece for everyone here asserts has ever caused such a sensation. The work was not performed in Vienna during or , but starting in there was a revival production.

For Deh vieni he wrote Al desio di chi t'adora — "[come and fly] To the desire of [the one] who adores you" K. The voice types which appear in this table are those listed in the original libretto. In modern performance practice, Cherubino is usually assigned to a mezzo-soprano sometimes also Marcellina , Count Almaviva to a baritone , and Figaro to a bass-baritone. 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 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 obtain the favors of Figaro's bride-to-be, Susanna. 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.

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He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored. The overture is in the key of D major ; the tempo marking is presto ; i. The work is well known and often played independently as a concert piece. Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet in front of a mirror in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding cappellino.

Duet: Cinque, dieci, venti — "Five, ten, twenty".

Lisa Della Casa sings Handel & Mozart

Figaro is quite pleased with their new room; Susanna far less so Duettino: Se a caso madama la notte ti chiama — "If the Countess should call you during the night". She is bothered by its proximity to the Count's 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 is livid and plans to outwit the Count Cavatina : Se vuol ballare signor contino — "If you want to dance, sir count". Figaro departs, and Dr. Bartolo arrives with Marcellina, his old housekeeper. Marcellina has hired Bartolo as legal counsel, since Figaro had once promised to marry her if he should default on a loan she had made to him, and she intends to enforce that promise. Bartolo, still irked at Figaro for having facilitated the union of the Count and Rosina in The Barber of Seville , promises, in comical lawyer-speak, to help Marcellina aria: La vendetta — "Vengeance".

Bartolo departs, Susanna returns, and Marcellina and Susanna share an exchange of very politely delivered sarcastic insults duet: Via resti servita, madama brillante — "After you, brilliant madam". Susanna triumphs in the exchange by congratulating her rival on her impressive age. The older woman departs in a fury. It seems the Count is angry with Cherubino's amorous ways, having discovered him with the gardener's daughter, Barbarina, and plans to punish him.

Cherubino wants Susanna to ask the Countess to intercede on his behalf. When the Count appears, Cherubino hides behind a chair, not wanting to be seen alone with Susanna. The Count uses the opportunity of finding Susanna alone to step up his demands for favours from her, including financial inducements to sell herself to him.


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As Basilio, the slimy music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Cherubino leaves that hiding place just in time, and jumps onto the chair while Susanna scrambles to cover him with a dress.

The Marriage of Figaro

When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place terzetto: Cosa sento! He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table. As he lifts the dress from the chair to illustrate how he lifted the tablecloth to expose Cherubino, he finds The count is furious, but is reminded that the page overheard the Count's advances on Susanna, something that the Count wants to keep from the Countess.

The young man is ultimately saved from punishment by the entrance of the peasants of the Count's estate, a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied.

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The Count evades Figaro's plan by postponing the gesture. The Count says that he forgives Cherubino, but he dispatches him to his own regiment in Seville for army duty, effective immediately. A handsome room with an alcove, a dressing room on the left, a door in the background leading to the servants' quarters and a window at the side. The Countess laments her husband's infidelity aria: Porgi, amor, qualche ristoro — "Grant, love, some comfort". Susanna comes in to prepare the Countess for the day. She responds to the Countess's questions by telling her that the Count is not trying to "seduce" her; he is merely offering her a monetary contract in return for her affection.

Figaro enters and explains his plan to distract the Count with anonymous letters warning him of adulterers. He has already sent one to the Count via Basilio that indicates that the Countess has a rendezvous of her own that evening. They hope that the Count will be too busy looking for imaginary adulterers to interfere with Figaro's and Susanna's wedding. Figaro additionally advises the Countess to keep Cherubino around.

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She should dress him up as a girl and lure the Count into an illicit rendezvous where he can be caught red-handed. Figaro leaves. Cherubino arrives, sent in by Figaro and eager to co-operate. 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 signet ring which would be necessary to make it an official document. They proceed to attire Cherubino in girl's clothes aria of Susanna: Venite, inginocchiatevi — "Come, kneel down before me" , and Susanna goes out to fetch a ribbon.

While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving. Cherubino hides in the closet. The Count demands to be allowed into the room and the Countess reluctantly unlocks the door. The Count enters and hears a noise from the closet.

He tries to open it, but it is locked. The Countess tells him it is only Susanna, trying on her wedding dress. At this moment, Susanna re-enters unobserved, quickly realizes what's going on, and hides behind a couch Trio: Susanna, or via, sortite — "Susanna, come out! The Count shouts for her to identify herself by her voice, but the Countess orders her to be silent. Furious and suspicious, the Count leaves, with the Countess, in search of tools to force the closet door open.

As they leave, he locks all the bedroom doors to prevent the intruder from escaping. Cherubino and Susanna emerge from their hiding places, and Cherubino escapes by jumping through the window into the garden. Susanna then takes his place in the closet, vowing to make the Count look foolish duet: Aprite, presto, aprite — "Open the door, quickly!

The Count and Countess return. The Countess, thinking herself trapped, desperately admits that Cherubino is hidden in the closet. The enraged Count draws his sword, promising to kill Cherubino on the spot, but when the door is opened, they both find to their astonishment only Susanna Duet: Esci omai, garzon malnato — "Come out of there, you ill-born boy! The Count demands an explanation; the Countess tells him it is a practical joke, to test his trust in her.

Shamed by his jealousy, the Count begs for forgiveness. When the Count presses about the anonymous letter, Susanna and the Countess reveal that the letter was written by Figaro, and then delivered by Basilio. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of the window and broken his flowerpots of carnations.


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  5. The Count immediately realizes that the jumping fugitive was Cherubino, but Figaro claims it was he himself who jumped out the window, and claims to have injured his foot while landing. 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.

    The Count orders Figaro to prove he was the jumper by identifying the paper which is, in fact, Cherubino's appointment to the army. Figaro is at a loss, but Susanna and the Countess manage to signal the correct answers, and Figaro identifies the document. 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.

    The Count happily postpones the wedding in order to investigate the charge. The Count mulls over the confusing situation.

    http://1stclass-ltd.com/wp-content/sms/3216-whatsapp-hacken.php At the urging of the Countess, Susanna enters and gives a false promise to meet the Count later that night in the garden duet: Crudel! As Susanna leaves, the Count overhears her telling Figaro that he has already won the case. Figaro's hearing follows, and the Count's judgment is that Figaro must marry Marcellina.


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    Figaro argues that he cannot get married without his parents' permission, and that he does not know who his parents are, because he was stolen from them when he was a baby. The ensuing discussion reveals that Figaro is Rafaello, the long-lost illegitimate son of Bartolo and Marcellina. A touching scene of reconciliation occurs. During the celebrations, Susanna enters with a payment to release Figaro from his debt to Marcellina.

    Seeing Figaro and Marcellina in celebration together, Susanna mistakenly believes that Figaro now prefers Marcellina over her. She has a tantrum and slaps Figaro's face. Marcellina explains, and Susanna, realizing her mistake, joins the celebration. Bartolo, overcome with emotion, agrees to marry Marcellina that evening in a double wedding sextet: Riconosci in questo amplesso — "Recognize in this embrace". All leave, and the Countess, alone, ponders the loss of her happiness aria: Dove sono i bei momenti — "Where are they, the beautiful moments".