Classically Savvy

Act IV – The Garden

Scene 1a
#23 Aria: L’ho perduta, me meschina – Barbarina is crying because she has dropped the pin and can’t find it. (Note: It is unusual for such a minor character to have an aria. This is also the only minor key aria in the opera. Could she be, perhaps, mourning the loss of something more than just a pin?)

Scene 1b
Recit: Figaro and Marcellina find Barbarina. She explains that she was taking the pin to Susanna but dropped it. Figaro tries to get more information (realizing that the pin was the same one from the Count’s letter), and Barbarina says the Count told her to tell Susanna, “This is the seal of the pines.” Marcellina warns Figaro that he has nothing more than suspicion to go on, and that he doesn’t know for sure who will be made the fool of, but Figaro won’t listen. He plans “to avenge all husbands.”

After Figaro leaves, Marcellina plans to warn Susanna. She marvels that since she is no longer jealous of Susanna, she feels compelled to help defend another woman from another ungrateful man.

#24 Aria: Il caprò e la capretta (Often cut) – Marcellina comments that wild animal pairs don’t fight one another, so why do men treat women so poorly?

Scene 2a
Recit: Barbarina is bringing some food to Cherubino, who has asked her to meet him in the grove. To get the food, she had to give the cook a kiss, which she hopes will be returned presently.

Scene 2b
Recit: Figaro brings Basilio and Bartolo into the garden to witness the Count and Susanna together.

#25 Aria: In quegl’anni (Often cut) – Basilio tells Bartolo how he was rash in his youth, but over the years has learned that often, one can escape “shame, peril, and death by wearing an ass’s hide.”

#26 Aria: Aprite un po’ que’glocchi – Figaro expresses his anger that Susanna, with her “ingenuous face and innocent eyes,” deceived him. He urges all men to “open their eyes” and see that women are all witches (among other things) who feel neither love nor pity. (Note: when a man’s wife was unfaithful, he was “cuckolded.” It was believed that horns would grow from his forehead, metaphorically speaking. However, Mozart uses the horns in the orchestra as a little joke when Figaro says, ‘everyone knows the rest’ about what women do.)

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Things become confusing from here to the end of the Finale when discussing Susanna and the Countess. If one says “Susanna” is he or she talking about Diva A, who has been playing the role of Susanna all night, or about Diva B, who plays the Countess but is now wearing Susanna’s clothes? In situation A, I’ll always use the name without quotes; in situation B, I’ll use quotes. For example: “The Count looks for ‘Susanna’ while Susanna and Figaro plan their next step.”

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Scene 2c
Recit: Having exchanged outfits, Susanna and the Countess come into the grove. Marcellina warns Susanna of Figaro’s jealousy, and that he is already nearby. Marcellina and the Countess hide, and Susanna decides to have some fun, knowing that Figaro is listening.

#27 Aria: Deh vieni, non tardar – Susanna asks that scruples leave her so she can enjoy being in the arms of love, a desire which is driving her crazy. She says everything in this place is perfect for trysting — the breeze, the stream, the grass, the flowers. She invites her beloved to come to her so she can crown him with roses. (Note: Many actresses play this aria as if they are singing it truly and sincerely to Figaro, making it even more ironic when he gets angry immediately following the aria.)

#28 Finale
Duet: Pian pianin, le andró più presso – Looking for Barbarina, Cherubino notices “Susanna.” He says he knows why she is there, and demands a kiss, despite her protestations.

Quintet: Eccoqui – The Count enters, looking for “Susanna,” and sees her with Cherubino, which angers him. Figaro and Susanna are concerned that Cherubino is going to mess up their plans. As he goes to separate the two, he receives the kiss Cherubino was about to plant on “Susanna,” angering him further. Figaro, in the wrong place at the wrong time, receives the blow that the Count intends for Cherubino. Everyone says, “he got what he deserved.”

With Cherubino gone, the Count finally has “Susanna” alone. He invites her to sit, and begins caressing her. He is enraptured by her delicate fingers and perfect skin. Both women and Figaro comment that the Count’s reason has been clouded by desire.

The Count is so taken with “Susanna” that he offers her a diamond ring in addition to the money he has agreed to pay her. Everyone says, “It’s all going as planned.” The Count tries to lead “Susanna” into the grove, but she protests, “It’s dark,” to which the Count replies, “Well, I wasn’t planning on reading.” When they hear Figaro, the Count and “Susanna” go in different directions.

Duet: Tutto è tranquilla e placido – Figaro is now alone. Noting how peaceful it is, he plans to confront Venus and Mars in the grove. “The Countess” calls him before he is able to go, however. Figaro is excited to be able to offer proof of the Count’s infidelity, but “The Countess” asks him to be quiet. At this point, Figaro recognizes that “The Countess” is Susanna, but decides to play a bit. He suggests to “The Countess” that they have a tryst of their own to get revenge. Susanna is outraged, and starts slapping Figaro, who is happy to receive them as proof of Susanna’s love.

Trio: Pace, pace, mio dolce tesoro – Figaro asks Susanna’s forgiveness, telling her he recognized her voice right away. The Count wanders through, looking for “Susanna.” Susanna explains that the plan is working, and Figaro agrees to help her bring this comedy to an end. In a loud voice, Figaro makes overtures to “The Countess,” which she is more than happy to oblige.

Ensemble: Gente, gente, all’armi, all’armi! – The Count detains Figaro and calls for help; Basilio, Bartolo, and Antonio come running. When the Count demands “The Countess” come out of the grove, everyone is startled to see Cherubino, Barbarina, and Marcellina come out first. “The Countess” comes out and asks forgiveness; the Count says “No!” Figaro and the others add their voices, but the Count still refuses. Finally, the Countess reveals herself, stunning everyone.

When the Count realizes that he’s in the wrong, that the Countess knows everything, and that others have witnessed his behavior, he realizes it is the moment of reckoning. He asks the Countess for forgiveness. When she grants it, everyone is relieved, and celebrates that a day of craziness and caprices has come to an end, and rushes away to enjoy the festivities.

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