Classically Savvy

The opera begins with one of Mozart’s most famous overtures (not to be confused with Rossini’s overture to Il Barbiere di Siviglia). It does not draw on themes from the opera, but serves to set the mood, an apertif, if you will.Scene 1

#1 Duet: Cinque … dieci … venti – Susanna wants to show the wedding veil she has made, but Figaro is preoccupied measuring the room.

Recit: When Figaro tells Susanna that he is measuring the room to see if the gift from the Count (a bed) will fit, and that this will be their new chambers, Susanna becomes upset, much to Figaro’s confusion

#2 The “Ding-Dong” duet – Figaro tries to explain that this is the best room in the castle — it’s between the Count and Countess’s chambers, making it easier to come when they call. Susanna, however, implies that it would also be easier for the Count to come pay her a visit while Figaro is away on business. Figaro becomes concerned, and Susanna asks him to trust her

Recit: Susanna elaborates. Lately, when Don Basilio has come to give her her daily singing lesson, he has spoken in no uncertain terms of the Count’s desires. Figaro begins to understand the “carita pelosa” (Lit. “hairy charity”) behind the bed and the chamber. Susanna goes on to say that the Count wishes to reinstate the droit de Seigneur (the right of feudal privilege, whereby the lord of the castle may consummate the marriage of any of his vassals, in the place of the true husband), a right which the Count abolished when he married Rosina.

#3 Aria: Se vuol ballare – Figaro says “If you want to dance, dear Count, then I’ll play the guitar for you. If you want to come to the school of cuckolding, then I will teach you…. I’ll overthrow all your plots.”

Scene 2

Recit: Don Bartolo and Marcellina discuss some money that Marcellina had loaned Figaro long ago; Figaro agreed in the contract to marry Marcellina if he could not repay her. Marcellina intends to use this to get what she wants, namely Figaro. Additionally, since she dislikes the younger and prettier Susanna, she relishes the thought of embarrasing her. Bartolo agrees to help, mostly because it would get his old “intended” off his hands.

#4 Aria: La Vendetta (Often cut) – Bartolo agrees with gusto to try the case, and assures Marcellina that they will win.

Recit: Marcellina notices Susanna passing by on her way to attend to the Countess, but pretends not to notice, and begins to speak badly of Susanna and Figaro.

#5 Duet: Via resti servita – Marcellina and Susanna exchange pointed pleasantries. “After you, most honored lady!” “No, after you, Count’s beauty!” “No, no, after you, the love of all of Spain!” “Station first” “Age first” “After you” “I wouldn’t dare” etc.

Scene 3a
Recit: After Marcellina finally goes, Cherubino rushes in. He tells Susanna that the Count has banished him from the castle, and that he’d like the Countess to speak to the Count on his behalf. However, since he respects the Countess too much — even fears her — he wants Susanna to speak to the Countess on his behalf. He is distracted by a ribbon from the Countess’s nightcap, grabs it, and becomes flustered by the thought of holding something that has touched the Countess. Susanna demands it back, but Cherubino refuses, offering in exchange a song he has written about love.

#6 Aria: Non so più - Cherubino, very much out of breath, sings of the emotions that women make him feel, and that the word “love” excites him, forcing him to say it when he is awake or asleep. (Note: The character of Cherubino is interesting because he is played by a mezzo-soprano. Mozart and Da Ponte were most certainly aware of the titillation caused by having a female actor play such a sexually-charged role.)

Recit: Just as Cherubino finishes his song, the shadow of the Count appears at the window, throwing both Susanna and Cherubino into a panic. Cherubino jumps into an armchair, and Susanna covers him.

Scene 3b

The Count finally has decided to see Susanna himself (Note: An acting concept applies here — if you think of any event on stage as the first time, it becomes much more interesting. Which would be more powerful — the first time the Count speaks to Susanna directly, or the thirteenth?) He notes her agitation, but Susanna tells him to go away. Making himself at home, the Count sits in the armchair just as Cherubino sneaks behind it. The Count explains that he wants to take Figaro with him to London as an attaché, and that Susanna will come as well. As the Count becomes more ardent, he asks Susanna to meet him in the garden in the evening, a service for which he will pay her.

Scene 3c
They are interrupted by the appearance of Don Basilio. The Count hides behind the chair, while Cherubino avoids the Count by sneaking back into the chair, and Susanna covers both of them. When Susanna tongue-lashes Basilio for another onslaught of unwelcome advances, he charges her with having an amorous encounter with Cherubino, whom he had seen outside Susanna’s chambers earlier. When Susanna tries to defend herself, Basilio mentions that Susanna isn’t Cherubino’s only interest, suggesting that everyone sees the way Cherubino stares at the Countess at dinner. Enraged, the Count pops up from behind the chair.

#7 Trio: Cosa sento? – The Count orders Basilio to hunt down Cherubino, while Basilio claims his remarks were only suspicions. Susanna begins to faint, and when the two men try to seat her in the chair, she regains strength (lest she sit on Cherubino and he be discovered). She claims that Basilio is lying, but the Count is still intent on sending Cherubino away, and explains what precipitated the whole situation: when he went to see Barbarina late last night, she was flustered, and he discovered the page hiding under a table. To demonstrate, the Count pulls the cover off the chair, only to discover Cherubino! The Count is even more enraged, yet this time directs his wrath at Susanna: “Most honest lady, I see how it is.”

Recit: The Count, thinking he can use this to his advantage, tells Basilio to summon Figaro. The Count is stunned when Susanna agrees that this is a good idea, asking her what possible excuse she could have. She asserts her innocence, explaining that Cherubino was simply trying to get the Countess’s help and that he was frightened when the Count entered unexpectedly. The Count realizes that Cherubino heard everything, and is about to beat him to a pulp when…

Scene 3d
#8 Chorus: Giovani liete – A chorus of peasants enter, singing a chorus of praise, thanking the Count for preserving Susanna’s purity by abolishing the droit de Seigneur.

Recit: Figaro steps forth and asks the Count to perform the marriage on the spot. The Count buys himself more time by saying he needs time to summon his friends and prepare a rich celebration. The chorus sings his praise again.

Recit: Figaro, knowing nothing of the embroilment with Cherubino, asks why Cherubino isn’t excited about the festivities, and Susanna explains that the Count has banished him. Cherubino asks the Count for forgiveness; since he has knowledge that could damage the Count’s reputation, the Count agrees not only to pardon Cherubino, but give him an official military post, an assignment for which he must depart immediately. Figaro whispers to Cherubino not to leave right away — he has a plan.

Scene 3e
#9 Aria: Non più andrai – Figaro teases Cherubino about trading fancy clothes for a uniform, the fandango for a march through the mud. (Note: There’s a question about whether or not the Count should be in the room for this aria, thus making it a show for the Count’s sake. It is often staged without the Count in the room, however, and is simply a way for Figaro to tease Cherubino.)

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Next time: Act II – The plan, and even more confusion (as if the bit with the chair wasn’t enough!)

Copyright Paul Hindemith, 2006.  This material may not be reproduced for profit in any way without the express permission of the author.