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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.

Scene 1a

Recit: The Count paces, trying to make sense of everything: the anonymous letter, Susanna in the closet, his anxious wife, someone jumping from the balcony, someone else taking the blame. To set his mind at ease, he has sent Basilio to Seville to see if Cherubino has truly gone.

The Countess and Susanna appear just outside the room. The Countess suggests that she and Susanna trade places in the garden this evening, and leave Cherubino out of the plan entirely. Since Figaro would surely try to complicate matters, they decide not to tell him.

Susanna approaches the Count, asking for the flask of smelling salts for the Countess. The Count suggests that Susanna keep the flask, since she will need to use it herself when she loses Figaro to Marcellina. Susanna suggests that she could pay using the money the Count promised her, and that she is willing to do whatever he wants.

#16 Duet: Crudel, perche finora – The Count is wary of Susanna, but she says, “Women need some time before they say ‘yes.’” Susanna is a bit nervous, giving the wrong answers to some of the Count’s questions, but she covers her mistakes. In their asides, the Count celebrates his victory, while Susanna asks Figaro to forgive her.

Recit: Susanna explains that she was short with the Count this morning because Cherubino was in the room. The Count is ready to have his way with Susanna right there, but she escapes. Figaro steps into the room, looking for Susanna, and as they exit, the Count overhears Susanna say “You’ve already won your case.”

Scene 1b

#17 Aria: Hai già vinta la causa? - The Count realizes he has been tricked. He ponders how Figaro could possibly win the case, but convinces himself that there is no way — Figaro doesn’t have the money to pay Marcellina, and even if he did, Antonio would never give permission for Figaro to marry his niece, Susanna. He fumes: “Should I see my vile servant possess something I desire? No! I will be vindicated!”

Scene 2

Recit: Barbarina is excited to dress up Cherubino as a girl, despite his protestations. (Note: Again, the concept of a woman playing a teenaged boy dressed up as a woman is comical in and of itself. Does that make him/her a trans-transvestite?)

Scene 3

#19 Aria: Dove sono – The Countess is nervous about the risky plan, and mourns the degradation caused by her husband. She asks: “Where have the happy days gone? Why do I even remember them, despite suffering? If only my faithfulness could change him.”

Scene 4

Note: This scene usually comes before Scene 2, but makes sense here, as well)

Recit: Figaro protests the decision that he is either to repay Marcellina or marry her. He says he cannot marry her without the permission of his parents, and since he was a foundling, he has to find them first. However, something he says strikes Marcellina, and she realizes that he is her and Bartolo’s love-child.

#18 Sextet: Riconosci in questo amplesso - Marcellina, Bartolo, and Figaro all embrace while the Count fumes that he has, once again, lost the upper hand. As he is about to leave, Susanna comes in with the money to pay Figaro’s debt. Rather than accept, the Count points to Figaro and Marcellina in each other’s arms. Susanna slaps him for his unfaithfulness, but Figaro explains that Marcellina and Bartolo are his parents, which everyone confirms. Foiled again, the Count fumes and exits.

Recit: Having found their long-lost son, Don Bartolo and Marcellina agree to get married alongside Figaro and Susanna. Marcellina forgives Figaro’s debt as his dowry. Everyone is happy, and have a laugh at the Count’s expense.

Scene 5

Recit: Antonio offers Cherubino’s military hat as proof to the Count that Cherubino is still in the castle.

Scene 6a

Recit: Susanna conveys the Count’s reaction to the Countess.

#20 Duet: Sull’aria…Che soave zeffiretto – The Countess dictates the letter that Susanna is to give to the Count: “This evening, a gentle breeze will waft beneath the pines in the grove.”

Recit: Susanna pins the note closed, and writes “return the pin” on the back of it.

Scene 6b

#21 Chorus: Ricevete, o padroncina! - Peasant girls enter the room, led by Barbarina, and offer flowers to the Countess as a gesture of their love for her. Cherubino is hidden in their midst.

Recit: Barbarina explains that the pretty new girl is her cousin, who has come for the wedding. The Countess calls Cherubino to her for a good look, and asks Susanna, “Doesn’t she remind you of someone?”

Scene 6c
At that moment, Antonio and the Count enter, exposing Cherubino. The Count asks the Countess to explain, and she replies that they were dressing him up just as his appears now. The Count begins to turn his wrath on Cherubino, but is intercepted by Barbarina. In front of everyone she says, “Remember all those times you were hugging and kissing me, and told me I could have anything I wanted if I just loved you? Well, if you let me marry Cherubino, I’ll love you as much as a kitten.” Embarrassed and defeated yet again, the Count begins to leave.

Scene 6d
But Figaro bursts in — with all the girls inside, how can there be a dance? The Count asks how Figaro plans to dance with a sprained ankle, but Figaro says it is better. Antonio tricks Figaro, asking him to confirm that Cherubino left for Seville, which he does. Antonio calls Figaro a liar, showing him Cherubino, but Figaro simply says, “If I jumped out of the window, I suppose Cherubino could have as well, but I can’t dispute what I don’t know.”

Scene 6e – Finale
A march is heard in the distance, which signals the beginning of the wedding ceremony. The Countess tells the Count, “We must receive them, after all, it is one of your protégées.”

Scene 6f
Chorus & Dance: Amanti costanti – The peasants sing another song of praise that the Count has preserved Susanna’s virtue by revoking the droit de Seigneur. While they sing, the Count and Countess place veils on Susanna and Marcellina’s heads. Susanna slips the Count the note.

While the couples and peasants dance, the Count sneaks away to read the note, pricking his finger on the pin, which Figaro notices. The Count sends everyone away to prepare for the evening’s festivities. All sing the Count’s praises.

As everyone exits, the Count gives Barbarina the pin to return to Susanna.

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

#10 Aria: Porgi amor – Alone, the Countess mourns, and asks love to soothe the pains of her heart, which has been broken by the Count’s disinterest.

Recit: Susanna tells the Countess of the Count’s visit to her. The Countess explains, “The modern husband is systematically unfaithful, genetically fickle.” But she notes that Figaro alone could…

She doesn’t finish her thought, because Figaro enters at that moment. He jokes that there’s nothing to worry about; after all, the droit de Seigneur is “most possible and most natural.” The women ask how he can joke about such things, to which he responds it’s good that he can joke about it. He hatches the plan (Note: this is the key to the opera; if you miss it, you’ve got a LONG two hours of confusion ahead of you!)

Figaro has sent an anonymous letter to the Count, alerting him that the Countess will be meeting another man in the garden that evening. The Count will become so jealous that he will forget about trying to stop Figaro and Susanna’s wedding.

Additionally, they will publicly embarrass the Count — Susanna will accept the Count’s proposal to meet in the garden. Cherubino will go instead, dressed as Susanna, and then he Countess will expose them. The Count “will be made to do whatever she wants.” Figaro goes to get Cherubino.

The Countess expresses regret that Cherubino witnessed the Count’s overtures to Susanna. Cherubino comes in, and complains that he must leave his lovely godmother. The Countess asks to hear the song he has written, and Susanna accompanies him.

#11 Aria: Voi che sapete – Cherubino’s song is one of confusion. “You who know what love is, tell me, is this what I am feeling? It’s new to me. It fills me with desire, pleasure, pain, cold, fire; I sigh and groan, my heart races. I find no peace, but somehow, I enjoy this suffering.”

(Sidenote: In a master class with a renowned New York vocal coach, I observed a young mezzo-soprano sing this aria very prettily, but without much understanding of the text; so many mezzos get obsessed with “acting like a boy” that they miss the point of the aria, which is newfound sexuality. The coach said, “Look, do you know any teenage boys? Well, I have a teenaged nephew. Whenever I’m visiting, he’s always in the room with the door closed. Don’t think I don’t hear him in there sighing and groaning!” Graphic, perhaps, but these double entendres were very much part of Mozart and DaPonte’s collaborations!)

Recit: Susanna and the Countess begin to dress Cherubino. The Countess is hesitant — what if someone were to come in? Susanna says they’re doing nothing wrong, but she’ll close the door, nevertheless. Helping Cherubino remove his jacket, the Countess sees his commission, and also that the Count was in such a hurry to dismiss Cherubino, that he forgot the official seal.

#12 Aria: Venite, inginocchiatevi or the Dressing Aria – Susanna finishes getting Cherubino dressed, despite his obvious infatuation with the Countess. She says it’s no surprise that girls fall for him — he’s beautiful!

Recit: The women put the finishing touches on Cherubino, and the Countess notices the ribbon from her nightcap wrapped around his arm. He has used it as a bandage, claiming it has special healing properties. She sends Susanna to get another ribbon. When the Countess makes light of the situation, Cherubino begins to cry, and the Countess tries to console him. There is a knock at the door. The Count! The Countess knows that he has received Figaro’s letter by now, and that he will be suspicious. She shoves Cherubino in the closet, and lets the Count in.

When the Count asks why the door was locked, the Countess responds that Susanna had been trying on her wedding dress, but has left. Something falls in the closet, adding to the Count’s mistrust. When the Countess says it was Susanna, the Count says, “You told me she went to her room!” Susanna, meanwhile, comes into the room with something for Cherubino, but hides behind a screen before the Count notices her.

#13 Trio: Susanna, or via sortite – The Count demands that “Susanna” come out of the closet, but the Countess forbids it in the name of decency, since she is not completely dressed. The Count asks Susanna to speak since she can’t come out, but the Countess forbids it again. The Count and Countess warn one another, “Tread softly, let’s not start a scandal.”

Recit: The Count starts to yell for his servants to come help him break into the closet, but agrees to keep the matter private at the Countess’s request. He locks all the doors, and, believing the room to be secure, takes the Countess with him to get tools so he can break into the closet.

#14 Duet: Aprite, presto aprite - Susanna retrieves Cherubino from the closet, but since the doors are locked, they can’t escape. Cherubino has a flash of inspiration, kisses Susanna farewell, and jumps out the window.

Recit: Susanna watches Cherubino run away and then hides in the closet. The Count enters with the Countess and proclaims, “Everything is just as I left it.” He gives the Countess one last chance to open the closet. She decides to tell the truth, that she was preparing a joke for the evening’s festivities, and that Cherubino is in the closet. The Count flies into a rage — once again, he’s been crossed by Cherubino!

#15 Finale
Duet: Esci omai, garzon malnato - The Count demands that Cherubino come out; the Countess once again prevents it. She tries to calm him by preparing him for seeing Cherubino is bare-chested. The Count demands the key, but the Countess still refuses. He sings of his contempt for her, and she sings of her fear that his wrath will cause him to do something rash. The Count finally rushes at the closet door, intent on breaking it down and killing the page, but…

Trio: Signore, cos’è quel stupore? – Susanna opens the door, confounding both the Count and Countess. The Count gives a half-hearted apology for his words, but then plays the victim: “A game like this is nothing but cruelty!” After a brief scolding from the women, he thinks that he can get back into the Countess’s good graces with an “I love you.”

The Countess now has the upper hand, and she finally is able to confront the Count for his unfaithfulness: “This is the reward of a loving soul?” The Count pleads with her, and calls her by her given name, “Rosina!” which sets the her off; she gave up her name for the title of the Countess, but for what? Not hearing her, the Count asks, “What was all that about the Page? Why were you trembling? What was that letter about?” The women let slip that Figaro wrote the letter, but when he starts to get angry again, they say they will only forgive him if he forgives Figaro.

The Count finally gives in, seeming genuinely penitent. The Countess can no longer maintain the angry facade, and all three sing of the “new start” for the couple. However…

Quartet: Signori, di fuori - Figaro enters, reigniting the Count’s anger. The Count confronts Figaro about the letter, but Figaro claims to know nothing about it. The Countess and Susanna prompt him, which leads the Count to suspect that he is lying; Figaro still maintains that he knows nothing. When it is evident that the Count has no solid evidence against them, Figaro urges that they go ahead with the wedding. The Count has no reason to stop them, until…

Quintet: Ah, Signor – The drunken gardener, Antonio, appears unexpectedly, complaining that someone jumped from the balcony, breaking his carnations. He finally letting on that he thought was Cherubino. Figaro says he was the one who jumped because the Count’s shouting from the next room frightened him, and sprained his ankle (which he unconvincingly begins to fake).

Antonio holds up a paper that he found in the carnations, but the Count intercepts it, recognizing it at once as Cherubino’s commission. After sending Antonio away, he demands an explanation. The women also recognize it, and between they help Figaro come up with a plausible explanation: Cherubino left the commission with Figaro because it needed an official seal. The Count has lost the upper hand yet again. Or so it seems…

Sextet: Voi, Signor, che giusto siete – Marcellina, Don Bartolo, and Don Basilio enter and urge the Count to hear Marcellina’s case against Figaro. The Count is relieved, and despite the protests of Figaro, Susanna, and the Countess, he agrees to make sure the contract is valid. The Count and his three cronies praise “whichever god has brought them together,” while the Countess and the couple condemn “whichever devil” has interfered.

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

#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.

This takes four acts and nearly three hours to accomplish ;-)

Before moving onto the plot, it’s absolutely crucial that you have a clear sense of the cast of characters in this opera. The inter-relationships are INCREDIBLY complex, and if you don’t have a good handle on them, then you don’t stand a chance of making sense of the finales, which are the most confusing in all of opera.

Without further ado, here are the relationships that you need to know:

Count Almaviva & The Countess (a.k.a. Rosina)
The local royalty and head of the castle. The Count spent all of the prequel (The Barber of Seville) trying to save Rosina from her guardian (Don Bartolo) and marry her. Unfortunately, between Episodes I and II, he’s gotten bored with her and turned his attention to other “pursuits,” causing her much distress.

Don Bartolo & Marcellina
An old doctor and a spinster, both of the upper-middle class. Bartolo still holds a grudge against the Count for stealing Rosina (and her dowry) away from him.

Figaro & Susanna
The personal valet and chambermaid of the Count and Countess. They are to be married (hence the opera’s title). Additionally, Figaro was the one who invented and helped execute the plan to trick Don Bartolo, thus allowing the Count and Countess to marry.

Cherubino
The only other noble in this story, and the Countess’s godson. This teenage page with raging hormones can focus on little else than love in all its various forms, and has the hots for pretty much every woman in the castle (Barbarina, Susanna, and the Countess most especially). Timing is not a skill he has learned yet, and he keeps getting caught in compromising positions by the Count.

Don Basilio & Don Curzio
Basilio is an opportunistic, sycophantic music teacher. Loyalty is a foreign concept, and he will do just about anything if the price is right. He thrives on stirring up trouble and then watching others misery. Curzio is a blind lawyer with a speech impediment.

Antonio & Barbarina
Antonio is the gardener, but has the reputation of being “drunk at the break of day.” He is Susanna’s uncle and guardian. Barbarina is his daughter.

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To boil it down even more, you’ve got “The good…” (Figaro, Susanna, the Countess) “The bad…” (The Count, Don Basilio, Don Bartolo, Marcellina) “and the clueless” (Cherubino, Antonio, Barbarina, Don Curzio)

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Next time: Act I, the situation is revealed

Every so often, you read something that crystallizes some idea that’s been vaguely floating around in the back of your head. Last week, an article titled “The Neuroscience of Talent (There isn’t any)” caught my attention. Several points in the article struck me as noteworthy.

It doesn’t appear that there’s anything like a music gene or center in the brain that Stevie Wonder has that nobody else has. There’s no evidence that (talented people) have a different brain structure or different wiring than the rest of us initially, although we do know that becoming an expert in anything — like chess or race-car driving or journalism — does change the brain and creates circuitry that’s more efficient at doing what you’re an expert at.

So it’s back to nature/nurture, then. Even though the brain itself isn’t more suited in this case, I do think people are more likely to excel at music (or any subject, for that matter) if their personality matches the personality traits required for it.

Additionally, and perhaps more fundamental, the skill must be cultivated. I’ve encountered quite a few amateur musicians who I thought could definitely have had a career as a singer because of their personality. But, since they never sang anywhere but in the shower, and made other choices with their vocations, that route is closed to them. Quite disappointing in some situations.

I gave a friend a voice lesson once, and found myself thinking “This guy could be a Wagnerian tenor!” But at 35, he already had a career as a lawyer and educator, as well as being a dad and volunteer at his church. The amount of training needed to get his voice to operatic quality would have been considerable, and he didn’t have the desire or dedication to continue. To this day, I wonder what that parallel universe would have been like where he did learn to sing somewhere along the way.

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“(Research has shown that) if women could choose who they’d like to be impregnated by, they’d choose a rock star. There’s something about the rock star’s genes that is signaling creativity, flexibility of thinking, flexibility of mind and body, an ability to express and process emotions — not to mention that (musical talent) signals that if you can waste your time on something that has no immediate impact on food-gathering and shelter, you’ve got your food-gathering and shelter taken care of.”

Wow. I love this. Let me repeat: “If you can waste your time on something that has no immediate impact on food-gathering and shelter, you’ve got your food-gathering and shelter taken care of.” Need I say more? :-)

Apologies to my few faithful readers. I’ve been stumped about this blog lately and what to do with it. The thought of “What do I write about first?” has been bugging me; there are SO many things I want to write about!

I’d tell myself, “Just write about something.” So I’d start with whatever entered my mind. Then, I’d get stuck, realizing that what’s second-nature to me isn’t to many amateur musicians and music lovers. As I tried to describe some of these concepts, I’d get so far away from what I wanted to be talking about, I’d give up.

When I did complete a post, it would take 2-3 hours. More time than I ever expected to take on this project!

Hopefully, this will get me unstuck.

I’m going to “Write what I know.” I’m still going to strive to write 3x a week about What I’m Studying, What I’m Listening to, and What I Know. I may branch out later, but at least it’s a start.

My next few posts will be about Mozart’s Le nozze di Figaro (The Marriage of Figaro) since I’ll be performing the role of Count Almaviva in the fall.

Other suggestions? Send ‘em my way!

The classic example is the elementary school band or orchestra concert. Even if all the students play the right notes, it’s rarely a pretty sound. Partly, that’s due to lack of refinement of technique. They’re trying so hard just to play the notes, that they’re not able to listen to the people around them and adjust.

When musicians are in tune, their tones blend, and it sounds clear. An example: at the Basilica of St Mary, there’s always a Gregorian chant to start the liturgy; the cantor stands behind the high altar and is virtually invisible. Last Sunday, two soprani did the chant together. People in the congregation were surprised to find out after Mass that there were two singers — the musicians were so well in tune that it sounded like one strong voice.

Why?

Waves are additive. Two sounds are added together to form a single complex sound wave. When two tones are exactly in tune (i.e., they have the exact same frequency, measured in Hertz or cycles per second), they are “in phase.” Add them together, and you get a single, louder sound.Look at the example below. Notice the two tones at the top (both 437 Hertz) appear to be about 3/4 inches tall on your screen. Then, look at what happens when both are sounding together — the resulting wave is still 437 Hz, but it’s about 1 1/2 inches tall. In other words, because the pitches were in tune, their amplitudes added together (3/4 + 3/4 = 1 1/2). The result? More volume.

To hear this, click the image to go to Thinkquest. Listen to Frequency 1, Frequency 2, and then the combined wave.

But what would happen if the pitches are not in tune?

Since their frequencies are not the same, they cycle between being in phase and out of phase.

Here’s an everyday example. You’re sitting in the left turn lane with your signal on. The car in front of you has their signal on. As you watch the two signals blink on-off-on-off, eventually, your blinkers and the car in front of you will match up for a second or two. Wait another few seconds, and your blinkers will be off while theirs are on. A few more seconds, and they’ll blink together again. This pattern would continue all day, or at least until the light changes and you both go on your merry ways.

If pitches are not in tune, there’s interference; they’re not in phase, the acoustic version of two blinkers out of sync. This leads to a “wah-wah-wah” sound that’s known as a beat.

Acoustic beats
To hear it, go back to Thinkquest. Set the two frequencies to different numbers. You’ll barely notice the difference in the pitches when you hear them alone, but you’ll both see and hear the beats in the combined wave!

The easiest way for musicians to be in tune is to listen for beats, and adjust. Sometimes you can’t tell if you’re high or low, so you have to guess. You try bringing down the pitch, but start to hear more beats. OOPS! That meant you were already low to begin with, and have gone even lower. So then, you raise the pitch, the beats get slower and slower, and eventually, you’re right in tune with the other musicians.

Listen carefully the next time there’s a unison passage (i.e., everyone is singing/playing the same pitches without harmony). If you’re really listening, you’ll hear beats in the sound from time to time.

A parting thought: No ensemble is has perfect intonation, but the better the ensemble, the quicker they adjust.

Taylor never liked talking too much about music. He reasoned that if he thought about it too much, he’d stop enjoying it. It was his right-brained activity in his otherwise left-brained life, and he wanted to keep it that way. Though it drove me crazy, I could see where he was coming from. Ignorance is bliss.

Maybe he was right. Over the years, I have become more critical. Sometimes the critic takes over in my mind as I listen to music, and my awareness of the musical faults obliterates any chance of getting into the spirit of the music. But I’ve also learned some tricks for quieting the criticism and for appreciating music even when I know there are problems. Even so, when something truly unusual or spectacular or transcendent is happening, I can appreciate it on so many more levels than I ever used to, heightening the experience.

If you continue to read this blog, you’re doing so at the risk of refining your musical tastes. You risk moving from mystery to understanding, You risk changing the way you think about music. You risk growing in your musical understanding. You risk becoming more critical of the music you listen to.

I hope it’s clear that my goal is not to take the joy out of music, or turn you into a jaded music critic. Quite the contrary — it is my firm belief that an increased understanding will help you enjoy music more.

But I make no guarantees. Caveat emptor.