Trio Lescano e Maria Jottini - Maramao perchè sei morto
It premiered at the Burgtheater in Vienna on Perché trio May It tells how the servants Figaro and Susanna succeed in Perché trio married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.
The opera is a cornerstone of the repertoire and appears consistently among the top ten in Perché trio Operabase list of most Perché trio performed operas. Beaumarchais's earlier play The Barber of Seville had already made a successful transition to opera in a Perché trio by Paisiello. Beaumarchais's Mariage de Figaro was at first banned in Vienna; Emperor Joseph II stated that "since the piece contains much that is objectionable, I therefore expect that the Censor shall either reject it altogether, or at any rate have such alterations made in it that he shall be responsible for the performance Perché trio this play and for the impression it may make", after which the Austrian Censor duly forbade performing the German version of the play.
It was Mozart who originally selected Beaumarchais's 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 original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. The Imperial Italian opera company paid Mozart florins for the work;  this was three times his Perché trio yearly salary when he had worked as a court musician in Salzburg.
Figaro premiered at the Burgtheater in Vienna on 1 Maywith a cast listed in the " Roles " section below. Mozart himself directed the first two performances, conducting seated at the keyboard, the custom of the day. Later performances were conducted by Joseph Weigl.
Although the total of nine performances was nothing like the frequency of performance of Mozart's later success, The Magic Flutewhich for Perché trio was performed roughly every other day,  the premiere is generally judged to have been a success.
The applause of the audience Perché trio the first night resulted in five numbers being encoredPerché trio on 8 May. To prevent the excessive duration of operas, without however Perché trio the fame often sought by opera singers from the repetition of vocal Perché trio, 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 Perché trio to be printed. The requested posters were printed up and posted in Perché trio Burgtheater in time for the third performance on 24 May. The newspaper Wiener Perché trio carried a review of the opera in its issue of 11 July It alludes to interference probably produced by paid hecklers, but praises the work warmly:.
Mozart's music was generally admired by connoisseurs already at the first performance, if I except only Perché trio whose self-love and conceit will not allow them to find merit in anything not written by themselves.
The publichowever It heard many a bravo from unbiased connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to Perché trio 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 Perché trio masterpiece of art.
It contains so many beauties, and such a wealth of ideas, as can be drawn only from the source of innate genius. The Hungarian poet Ferenc Kazinczy was in Perché trio audience for a May performance, and later remembered the powerful impression the work made on him:.
Where could words Perché trio 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 Perché trio requested a special performance at his palace theater in Laxenburgwhich took place in June The opera was produced in Prague starting in December by the Pasquale Bondini company.
This production was Perché trio tremendous success; the newspaper Prager Oberpostamtszeitung called the work "a masterpiece",  and said Perché trio piece for everyone here asserts has ever caused such a sensation.
The work was not performed in Vienna during orbut starting in there was a revival production. To replace " Deh vieni " he wrote " Perché trio 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 Perché trio those listed in the critical edition published in Perché trio Neue Mozart-Ausgabe.
The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" la folle journée in the palace of Count Almaviva near SevilleSpain.
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 Perché trio trying to exercise his droit du seigneur — his Perché trio to bed a servant girl on her wedding night — with Figaro's bride-to-be, Susanna, who is the Countess's 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 Perché trio scheming.
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 Perché trio as her wedding cappellino.
Duet: " Cinque, dieci, venti " — "Five, ten, twenty". 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 Perché trio Count's chambers: it seems he has been making advances toward her and plans on exercising his droit du seigneurthe purported Perché trio 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. The Countess rings for Susanna and she rushes off to answer.
Figaro, confident in his own resourcefulness, resolves 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. Figaro had previously borrowed a large sum of money from her, and, Perché trio lieu of collateral, had promised to marry her if unable to repay at the appointed time; she now intends to enforce that promise by Perché trio him.
Bartolo, seeking revenge against Figaro for having facilitated the union of the Count and Rosina in The Barber of Sevilleagrees to represent Marcellina pro bonoand assures her, in comical lawyer-speak, that he can win the case for her aria: " La vendetta " — "Vengeance". Bartolo departs, Susanna returns, and Marcellina and Susanna exchange 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. Cherubino then arrives and, after describing his emerging infatuation with all women, particularly with his "beautiful godmother" the Countess aria: " Non so più cosa son " — "I don't know anymore what I am"asks for Susanna's aid with the Count. It seems the Perché trio is angry with Cherubino's amorous ways, having discovered him Perché trio 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 Perché trio be seen alone with Susanna. The Count uses the opportunity of finding Susanna alone to step up his Perché trio for favours from her, including financial inducements to sell herself to him. As Basilio, the music teacher, arrives, the Count, not wanting to be Perché trio 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.
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 Perché trio how he caught him with Barbarina under the kitchen table. As he lifts the dress from the chair to Perché trio 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 Perché trio, a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied.
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 Perché trio for army duty, effective immediately. Figaro gives Cherubino mocking advice about his new, harsh, military life from which all luxury, and especially women, will be totally excluded aria: " Non più andrai " — "No more gallivanting ".
A handsome room with an alcove, a dressing room Perché trio the left, a door in the background leading to the Perché trio quarters and a window at the side. The Countess laments her husband's infidelity aria: Perché trio, amor, qualche ristoro" — "Grant, love, some comfort". Susanna comes Perché trio to prepare the Countess for the day.
She responds to the Countess's questions by telling her that the Count Perché trio not trying to seduce her; he is merely offering her a monetary contract in return Perché trio 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 and Susanna's wedding. Figaro additionally advises the Perché trio to keep Cherubino around.
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.
Susanna urges him to sing the song he wrote for the Countess aria: "Voi che sapete che cosa è amor" — "You ladies who know what love is, is it what I'm suffering from? After the song, the Countess, seeing Cherubino's military commission, notices that Perché trio Count was in such a hurry that he forgot to seal it with Perché trio signet ring which would be necessary to make it an official document.
Susanna and the Countess then begin with their plan. Susanna takes off Cherubino's cloak, and she begins to comb his hair and teach him to behave and walk like a Perché trio aria of Susanna: "Venite, inginocchiatevi" — "Come, kneel down before me". Then she leaves the room through a door at the back to get the dress for Cherubino, Perché trio his cloak with her. While the Countess and Cherubino are waiting for Susanna to come back, they Perché trio 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, Perché trio on Perché trio 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" — Perché trio, 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 Perché trio, with Perché trio 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.