1239:"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 own jealousy, the Count pleads 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 damaged his carnations while running away. Antonio adds that he tentatively identified the running man as Cherubino, but Figaro claims it was he himself who jumped out of the window, and pretends 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 triumphantly 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, since he cannot repay her loan. The Count happily postpones the wedding in order to investigate the charge.
1022:" – "What do I hear!"). 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 had lifted the tablecloth to find Cherubino with Barbarina, he finds the very same Cherubino in the hiding spot. The count is furious, but is reminded that the page overheard the Count's advances on Susanna, information 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 make the Count commit 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 Seville 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: "
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is in the closet and that she cannot come out because she is trying on her wedding dress. At this moment, Susanna re-enters from another room, quickly realizes what's going on, and hides before anyone can see her (Trio: "Susanna, or via, sortite" – "Susanna, come out!"). The Count shouts through the closet door 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 Cherubino's place in the closet, vowing to make the Count look foolish (duet: "Aprite, presto, aprite" – "Open the door, quickly!").
1013:" – "I don't know anymore what I am") asks for Susanna's aid with the Count. 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, and offers to pay money if she will submit to him. As Basilio, the 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.
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importance of not crossing powerful people, (aria: "In quegli anni" – "In those years"). They exit, leaving Figaro alone. Figaro muses bitterly on the inconstancy of women (recitative and aria: "Tutto è disposto ... Aprite un po' quegli occhi" – "Everything is ready ... Open those eyes a little"). Susanna and the
Countess arrive, each dressed in the other's clothes. Marcellina is with them, having informed Susanna of Figaro's suspicions and plans. After they discuss the plan, Marcellina and the Countess leave, and Susanna teases Figaro by singing a love song to her beloved within Figaro's hearing (aria: "Deh vieni non tardar" – "Oh come, don't delay"). Figaro is hiding behind a bush and, thinking the song is for the Count, becomes increasingly jealous.
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Susanna's, he is overcome with jealousy, especially as he recognises the pin as the one that fastened the letter to the Count. Thinking that Susanna is meeting the Count behind his back, Figaro complains to his mother, and swears to be avenged on the Count and Susanna, and on all unfaithful wives. Marcellina urges caution, but Figaro will not listen. Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. Marcellina sings an aria lamenting that male and female wild beasts get along with each other, but rational humans can't (aria: "Il capro e la capretta" – "The billy-goat and the she-goat"). (This aria and the subsequent aria of Basilio are mostly not performed; however, some recordings include them.)
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Figaro is
Raffaello, 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 to 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").
805:– his right 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 his 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 the clever manipulations of Susanna and the Countess, Figaro and Susanna are finally able to marry.
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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) indicating 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 Countess 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 and embarrassed. Figaro leaves.
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Countess, and starts to tell her of the Count's intentions, but he suddenly recognizes his bride in disguise. He plays along with the joke by pretending to be in love with "my lady", and inviting her to make love right then and there. Susanna, fooled, loses her temper and slaps him many times. Figaro finally lets on that he has recognized
Susanna's voice, and they make peace, resolving to conclude the comedy together ("Pace, pace, mio dolce tesoro" – "Peace, peace, my sweet treasure").
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1364:" – "Where are they, the beautiful moments"). Meanwhile, Antonio informs the Count that Cherubino is not in Seville, but in fact at his house. Susanna enters and updates her mistress regarding the plan to trap the Count. The Countess dictates a love letter for Susanna to send to the Count, which suggests that he meet her (Susanna) that night, "under the pines". The letter instructs the Count to return the pin that fastens the letter (duet: "
274:. 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 libretto was approved by the Emperor before any music was written by Mozart.
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actually his wife. He kneels and pleads for forgiveness, ("Contessa perdono!" – "Countess, forgive me!"). The
Countess replies that she does forgive him ("Più docile io sono e dico di sì" – "I am kinder , and I say yes"). Everyone declares that they will be happy with this ("A tutti contenti saremo cosi"), and set out to celebrate.
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2004:, proposes to take Da Ponte's words quite seriously, noting the "richness of the ensemble writing", which carries forward the action in a far more dramatic way than recitatives would. Rosen also suggests that the musical language of the classical style was adapted by Mozart to convey the drama; many sections of the opera resemble
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The Count, unable to find "Susanna", enters frustrated. Figaro gets his attention by loudly declaring his love for "the
Countess" (really Susanna). The enraged Count calls for his people and for weapons: his servant is seducing his wife. (Ultima scena: "Gente, gente, all'armi, all'armi" – "Gentlemen,
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Following the directions in the letter, the Count has sent the pin back to
Susanna, giving it to Barbarina. However, Barbarina has lost it (aria: "L'ho perduta, me meschina" – "I have lost it, poor me"). Figaro and Marcellina see Barbarina, and Figaro asks her what she is doing. When he hears the pin
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called the work "a masterpiece", and said "no piece (for everyone here asserts) has ever caused such a sensation." Local music lovers paid for Mozart to visit Prague and hear the production; he listened on 17 January 1787, and conducted it himself on the 22nd. The success of the Prague production led
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The act closes with the double wedding, during the course of which
Susanna delivers her letter to the Count (Finale: "Ecco la marcia" – "Here is the procession"). Figaro watches the Count prick his finger on the pin, and laughs, unaware that the love-note is an invitation for the Count to tryst with
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in the 1789 revival. The replacement arias, "Un moto di gioia" (replacing "Venite, inginocchiatevi" in act 2) and "Al desio di chi t'adora" (replacing "Deh vieni non tardar" in act 4), in which the two clarinets are replaced with basset horns, are normally not used in modern performances. A notable
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The Count mulls over the confusing situation. 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! perchè finora" – "Cruel girl, why did you make me wait so long"). As Susanna leaves, the Count overhears her telling
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While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving. Cherubino quickly hides in the closet and locks the door. The Countess reluctantly lets the Count into her room. The Count hears a noise from the closet. The Countess tells him that Susanna
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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 woman (aria of Susanna: "Venite, inginocchiatevi" – "Come, kneel down before me"). Then she leaves the room through a door at the back to
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A chorus of young peasants, among them Cherubino disguised as a girl, arrives to serenade the Countess. The Count arrives with Antonio and discovering the page, is enraged. His anger is quickly dispelled by Barbarina, who publicly recalls that he had once offered to give her anything she wanted in
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To prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, 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
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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 of this play and for the impression it may make", after which the
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Figaro's hearing follows, and the Count's judgment is that Figaro must marry Marcellina. 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
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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
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Figaro departs, and Dr. Bartolo arrives with Marcellina, his old housekeeper. Figaro had previously borrowed a large sum of money from her, and in lieu of collateral, had promised to marry her if unable to repay at the appointed time; she now intends to enforce that promise by suing him. Bartolo,
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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 closet door is opened, to their astonishment, they only find Susanna (Finale:
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Cherubino arrives, sent in by Figaro. 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 the
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The Count now begins making earnest love to "Susanna" (really the Countess), and gives her a jeweled ring. They go offstage together, where the Countess dodges him, hiding in the dark. Onstage, meanwhile, the real Susanna enters, wearing the Countess's clothes. Figaro mistakes her for the real
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All beg him to forgive Figaro and the "Countess", but he loudly refuses, repeating "no" at the top of his voice, until finally the real Countess re-enters and reveals her true identity. The Count, seeing the ring he had given her, realizes that the supposed Susanna he was trying to seduce was
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The Countess arrives in Susanna's dress. Cherubino shows up and starts teasing "Susanna" (really the Countess), endangering the plan. (Finale: "Pian pianin le andrò più presso" – "Softly, softly I'll approach her") The Count strikes out in the dark at Cherubino. but his punch hits Figaro, and
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Motivated by jealousy, Figaro tells Bartolo and Basilio to come to his aid when he gives the signal. Basilio comments on Figaro's foolishness and claims he was once as frivolous as Figaro was. He tells a tale of how he was given common sense by "Donna Flemma" ("Dame Prudence") and learned the
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Figaro that he has already won the case. Realizing that he is being tricked (recitative and aria: "Hai già vinta la causa! ... Vedrò, mentr'io sospiro" – "You've already won the case!" ... "Shall I, while sighing, see"), he resolves to punish Figaro by forcing him to marry Marcellina.
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Performance dates: 29 and 31 August; 2, 11, 19 September; 3, 9, 24 October; 5, 13, 27 November; 8 January 1790; 1 February; 1, 7, 9, 19, 30 May; 22 June; 24, 26 July; 22 August; 3, 25 September; 11 October; 4, 20 January 1791; 9 February; from
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212:("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.
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In spite ... of every effort ... to be brief, the opera will not be one of the shortest to have appeared on our stage, for which we hope sufficient excuse will be found in the variety of threads from which the action of this play
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for acts 2 and 4. The finale of act 2, lasting 20 minutes, is one of the longest uninterrupted pieces of music Mozart ever wrote. Eight of the opera's 11 characters appear on stage in its more than 900 bars of continuous music.
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The work was not performed in Vienna during 1787 or 1788, but starting in 1789 there was a revival production. For this occasion Mozart replaced both arias of Susanna with new compositions, better suited to the voice of
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altogether and opts for increasingly sophisticated writing, bringing his characters on stage, revelling in a complex weave of solo and ensemble singing in multiple combinations, and climaxing in seven- and eight-voice
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came in first out of the 20 operas featured, with the magazine describing the work as being "one of the supreme masterpieces of operatic comedy, whose rich sense of humanity shines out of Mozart's miraculous score".
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Mozart's music was generally admired by connoisseurs already at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves.
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tradition, where no clear distinction was drawn between bass and baritone, a practice that continued well into the 19th century. Similarly, mezzo-soprano as a distinct voice type was a 19th-century development
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is woven, the vastness and grandeur of the same, the multiplicity of the musical numbers that had to be made in order not to leave the actors too long unemployed, to diminish the vexation and monotony of long
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The synthesis of accelerating complexity and symmetrical resolution which was at the heart of Mozart's style enabled him to find a musical equivalent for the great stage works which were his dramatic models.
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Austrian Censor duly forbade performing the German version of the play. Mozart's librettist managed to get official approval from the emperor for an operatic version, which eventually achieved great success.
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799:, (a tenor in Paisiello's 1782 opera), 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 exercise his
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1991:, and to express with varied colours the various emotions that occur, but above all in our desire to offer as it were a new kind of spectacle to a public of so refined a taste and understanding.
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317:, which for months was performed roughly every other day, the premiere is generally judged to have been a success. The applause of the audience on the first night resulted in five numbers being
953:" – "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
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All leave before Barbarina, Antonio's daughter, invites Cherubino back to her house so they can disguise him as a girl. The Countess, alone, ponders the loss of her happiness (aria: "
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to arms!") Bartolo, Basilio and Antonio enter with torches as, one by one, the Count drags out Cherubino, Barbarina, Marcellina and the "Countess" from behind the pavilion.
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from unbiased connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their
416:; but the joy which this music causes is so far removed from all sensuality that one cannot speak of it. Where could words be found that are worthy to describe such joy?
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Lorenzo Da Ponte wrote a preface to the first published version of the libretto, in which he boldly claimed that he and Mozart had created a new form of music drama:
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Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet (which she has sewn herself) in front of a mirror. (Duet: "
304:" section below. Mozart himself conducted the first two performances, conducting seated at the keyboard, the custom of the day. Later performances were conducted by
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appreciated the opera greatly, writing to a friend that he heard it in his dreams. In summer 1790 Haydn attempted to produce the work with his own company at
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2008:. By movement through a sequence of keys, they build up and resolve musical tension, providing a natural musical reflection of the drama. As Rosen writes:
996:" – "After you, brilliant madam"). Susanna triumphs in the exchange by congratulating her rival on her impressive age. The older woman departs in a fury.
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1948:"), and one in which Don Basilio tells how he saved himself from several dangers in his youth by using the skin of a donkey for shelter and camouflage ("
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carried a review of the opera in its issue of 11 July 1786. It alludes to interference probably produced by paid hecklers, but praises the work warmly:
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Cherubino then arrives and after describing his emerging infatuation with all women, particularly with his "beautiful godmother" the Countess, (aria: "
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wrote an adaptation of the opera in English, translating from Beaumarchais's play and re-using some of Mozart's music, while adding some of his own.
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The opera was produced in Prague starting in December 1786 by the Pasquale Bondini company. This production was a tremendous success; the newspaper
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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.
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for the work; this was three times his meagre yearly salary when he had worked as a court musician in Salzburg. Da Ponte was paid 200 florins.
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When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: "
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Considered one of the greatest operas ever written, it is a cornerstone of the repertoire and appears consistently among the top ten in the
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Mozart's Opera Marriage of Figaro, containing the Italian text, with an English translation, and the Music of all of the Principal Airs
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is a miracle; it is totally beyond me how anyone could create anything so perfect; nothing like it was ever done again, not even by
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exchange for certain favors, and asks for Cherubino's hand in marriage. Thoroughly embarrassed, the Count allows Cherubino to stay.
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Apart from that, it is true that the first performance was none of the best, owing to the difficulties of the composition.
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The librettist Lorenzo Da Ponte in his memoirs asserted that the play was banned only for its sexual references. See the
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Two arias from act 4 are often omitted: one in which Marcellina regrets that people (unlike animals) abuse their mates ("
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is not given in the score, so it is up to the conductor and the performers. A typical performance lasts around 3 hours.
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Bartolo departs, Susanna returns, and Marcellina and Susanna exchange very politely delivered sarcastic insults (duet: "
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The requested posters were printed up and posted in the Burgtheater in time for the third performance on 24 May.
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Although the total of nine performances was nothing like the frequency of performance of Mozart's later success,
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It contains so many beauties, and such a wealth of ideas, as can be drawn only from the source of innate genius.
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was in the audience for a May performance, and later remembered the powerful impression the work made on him:
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947:" – "Five, ten, twenty"). Figaro is quite pleased with their new room; Susanna far less so (Duettino: "
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This is demonstrated in the closing numbers of all four acts: as the drama escalates, Mozart eschews
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in Mozart's version is the dramatic equal, and in many respects the superior, of Beaumarchais's work.
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These were: 3, 8, 24 May; 4 July, 28 August, 22 (perhaps 23) of September, 15 November, 18 December
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While the political content was suppressed, the opera enhanced the emotional content. According to
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An Interpretive Guide to Operatic Arias: A Handbook for Singers, Coaches, Teachers, and Students
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1848:– Susanna, Countess, Barbarina, Cherubino, Marcellina, Basilio, Count, Antonio, Figaro, Bartolo
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seeking revenge against Figaro for having facilitated the union of the Count and Rosina (in
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3676:
3656:
3606:
3236:
2794:
2065:
753:
680:
3479:, first edition, Presso Giuseppe Nob. de Kurzbek (Ritter Joseph Edler von Kurzböck), 1786
8:
4457:
4288:
4223:
4216:
4091:
3796:
3473:, source evaluation (German only), links to online DME recordings, Digital Mozart Edition
3456:
3163:
2859:
played by a woodwind ensemble, and alluded to by Leporello as "rather well-known sounds".
2000:
1915:
511:
262:
The opera was the first of three collaborations between Mozart and Da Ponte, followed by
203:
114:
4822:
4210:
3115:
2443:, transl. and ed. by L. A. Sheppard, London: Routledge & Kegan Paul, 1929, pp. 129ff
928:; i.e. quick. The work is well known and often played independently as a concert piece.
175:
4282:
4194:
3736:
3495:
3470:
3175:
3155:
1963:
641:
2688:
4805:
4605:
4511:
4258:
4252:
4081:
3626:
3528:
3417:
3389:
3367:
3350:
3338:
3314:
3303:
3254:
3244:
3222:
3185:
3141:
3058:
3027:
2900:
2875:
2849:
This piece became so popular that Mozart himself, in the final act of his next opera
2814:
2799:
2774:
2738:
2405:
2216:
2112:, K. 609, No. 1. Mozart reused the music of the "Agnus Dei" of his earlier
999:
981:, and assures her, in comical lawyer-speak, that he can win the case for her (aria: "
955:
801:
613:
608:
458:
220:
4707:
3890:
3786:
3546:
2099:
2090:
1684:
1380:
Figaro's own bride Susanna. As the curtain drops, the two newlywed couples rejoice.
1023:
481:" – " To the desire of who adores you" (K. 577) in July 1789, and to replace "
270:
4356:
4264:
4144:
4071:
3485:
3466:
2434:
2050:
1910:
1485:
1275:
899:
515:. In modern performance practice, Cherubino and Marcellina are usually assigned to
360:, however ... did not really know on the first day where it stood. It heard many a
297:
202:
in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by
195:
162:
87:
4306:
4939:
4700:
4613:
4361:
4096:
3992:
3917:
3806:
3746:
3646:
3381:
3357:
3240:
2768:
2225:
2165:
2057:
1967:
1897:
1640:
1462:
964:
866:
402:
313:
135:
4246:
3171:
2890:
2155:
2045:
1957:
Mozart wrote two replacement arias for Susanna when the role was taken over by
1905:
1416:
1412:
1283:
1220:
874:
623:
251:
1865:
1027:
4913:
4748:
4392:
4318:
4312:
4238:
3863:
3686:
3511:
3328:
3273:
3208:
2989:
2141:
2109:
1995:
1112:
810:
732:
630:
591:
520:
516:
409:
424:
378:
But now, after several performances, one would be subscribing either to the
4324:
4300:
4294:
3776:
3200:
2968:
2851:
2259:
2104:
1893:
1350:
1100:
575:
453:
420:
305:
264:
4011:
2034:
Mozart cleverly uses the sound of two horns playing together to represent
308:. The first production was given eight further performances, all in 1786.
66:
Early 19th-century engraving depicting Count Almaviva and Susanna in act 3
3666:
3505:
2963:
2673:
2185:
2005:
1923:
1737:– Susanna, Countess, Marcellina, Basilio, Count, Antonio, Bartolo, Figaro
913:
391:
293:
199:
183:
1369:
3476:
2856:
1988:
1919:
544:
537:
502:
413:
2383:, translated by Elisabeth Abbott (New York: Da Capo Press, 1988), 150.
3854:
3009:
2751:
2741:". Many of Mozart's baritone and bass-baritone roles derive from the
2730:
2316:
2148:
in another aria sung by the Countess, "Porgi, amor". Beethoven wrote
2127:
1772:
1361:
440:
439:
The Emperor requested a special performance at his palace theatre in
216:
3716:
2393:
1885:
1003:
Act 1: Cherubino hides behind Susanna's chair as the Count arrives.
960:
909:
555:
191:
61:
372:; and consequently opinions were divided at the end of the piece.
223:
asked 172 opera singers to vote for the best operas ever written.
4456:
3284:. Translated by Richard Salinger. Garden City: Dodd, Mead and Co.
2726:
2137:
2133:
2035:
1901:
1889:
1248:
A rich hall, with two thrones, prepared for the wedding ceremony.
1063:
917:
842:
792:
570:
2228:
quotes Mozart's opera, especially the overture, several times.
2171:
Fantaisie dramatique sur des Airs favoris, Bijoux à la Malibran
1316:
Deutsches Symphonie-Orchester Berlin, Fricsay 1960 (cast:
1115:
it with his signet ring (thus making it an official document).
318:
427:, but was prevented from doing so by the death of his patron,
3706:
2734:
2027:
1927:
1353:, Deutsches Symphonie-Orchester Berlin, Ferenc Fricsay (1960)
921:
785:
several years later, and recounts a single "day of madness" (
762:
695:
601:
493:" – "A joyous emotion", (K. 579), probably in mid-1790.
49:
2253:
2095:
1881:
2425:
Broder, Nathan (1951). "Essay on the Story of the Opera".
2088:) was later reused by Mozart in the overture to his opera
337:
therefore cause some posters to this effect to be printed.
3137:
From Handel to Hendrix: The Composer in the Public Sphere
1767:– Susanna, Marcellina, Don Curzio, Count, Bartolo, Figaro
3198:
2747:
1119:
get the dress for Cherubino, taking his cloak with her.
967:, Signor Contino" – "If you want to dance, Sir Count").
451:
to the commissioning of the next Mozart/Da Ponte opera,
2191:
Fantasy on Themes from Mozart's Figaro and Don Giovanni
242:
had already made a successful transition to opera in a
3576:
2289:
2287:
2154:, WoO 40, for violin and piano on Figaro's cavatina.
809:
Place: Count Almaviva's estate, Aguas-Frescas, three
2934:
2922:
2313:"Statistics for the five seasons 2009/10 to 2013/14"
2249:
937:
A partly furnished room, with a chair in the centre.
3117:
The Marriage of Figaro: A Comic Opera in Three Acts
3087:"Mozart's Bassoon Concerto, 'a little masterpiece'"
2513:
277:The Imperial Italian opera company paid Mozart 450
219:list of most frequently performed operas. In 2017,
3302:
3170:
2798:
2587:
2426:
2284:
2210:, which includes elements of Beaumarchais's third
2168:used the duettino "Crudel! perchè finora" in his
505:that appear in this table are those listed in the
3034:, p. 141; in a different translation, Peter Gay,
4911:
4853: Opera
4815: Opera
3218:The New Grove Dictionary of Music and Musicians
3084:
2398:Dümchen, Sybil; Nerlich, Michael, eds. (1994).
2366:. Cassell, London, 1977, p. 366 (in chapter on
1758:Hai già vinta la causa – Vedrò mentr'io sospiro
3356:
2716:
2569:From Kazinczy's 1828 autobiography; quoted in
2397:
2108:. Further, Mozart used it in 1791 in his Five
1962:exception was a series of performances at the
1839:Giunse alfin il momento – Deh vieni non tardar
4442:
4027:
3562:
3334:The Classical Style: Haydn, Mozart, Beethoven
2720:
2466:
2464:
2161:Fantasies on Themes from 'Le Nozze di Figaro'
2159:
2149:
2125:
2082:
2071:
2048:later used the same device in Ford's aria in
2039:
1949:
1943:
1937:
1017:
1008:
991:
982:
948:
942:
668:doctor from Seville, also a practicing lawyer
488:
482:
476:
470:
4965:Operas based on works by Pierre Beaumarchais
4960:Works based on The Marriage of Figaro (play)
3207:; Harris, Ellen T.; Waldman, Gerald (2001).
2899:, pp. 239–240. University of Chicago Press.
2896:Divas and Scholars: Performing Italian Opera
2733:", while men's roles were listed as either "
2451:
2449:
2179:
2169:
2113:
1832:Tutto è disposto – Aprite un po' quegl'occhi
1773:E Susanna non vien – Dove sono i bei momenti
1111:Count was in such a hurry that he forgot to
786:
105:
4041:
3235:
2763:
2599:
1368:" – "On the breeze... What a gentle little
434:
4449:
4435:
4034:
4020:
3569:
3555:
2951:
2949:
2874:, p. 207. University of California Press.
2871:Understanding the Women of Mozart's Operas
2461:
2429:The Marriage of Figaro: Le Nozze di Figaro
1799:– Susanna, Countess, Count, Figaro; Chorus
60:
3524:International Music Score Library Project
3305:Opera & Ideas: From Mozart to Strauss
2446:
254:, was at first banned in Vienna: Emperor
209:La folle journée, ou le Mariage de Figaro
108:La folle journée, ou le Mariage de Figaro
3501:Italian/English side by side translation
3496:Italian/English side by side translation
3337:(2nd ed.). New York: W. W. Norton.
3300:
2986:(La Scala, 1932) – About this Recording"
2708:
2076:A musical phrase from the act 1 trio of
1864:
998:
4682:The Crazy Day or The Marriage of Figaro
4203:
3380:
3154:
2946:
2916:
2725:. Women's roles were listed as either "
2684:
2682:
2661:
2647:
2635:
2623:
2611:
2570:
2557:
2544:
2532:
2507:
2495:
2482:
2470:
2455:
791:) in the palace of Count Almaviva near
32:The Marriage of Figaro (disambiguation)
14:
4912:
3837:Der Hölle Rache kocht in meinem Herzen
3535:Photos of 21st century productions of
3491:Full orchestral score (German/Italian)
3267:
3133:
3110:
3047:
2833:
2801:Beaumarchais in Seville: an intermezzo
2793:
2712:
2424:
2220:) and in which the main characters of
1973:
1389:The garden, with two pavilions. Night.
284:
231:
4852:
4814:
4430:
4015:
3550:
3327:
2940:
2928:
884:"Se a caso madama la notte ti chiama"
765:of peasants, villagers, and servants
741:the Count's gardener, Susanna's uncle
528:Roles, voice types, and premiere cast
161:
3309:. Cornell University Press. p.
3288:
2679:
2519:
2404:(in German). Tübingen: Gunter Narr.
2295:"The 20 Greatest Operas of All Time"
2060:said "In my opinion, each number in
1613:
1280:Deutsches Symphonie-Orchester Berlin
1225:Deutsches Symphonie-Orchester Berlin
871:Deutsches Symphonie-Orchester Berlin
725:Antonio's daughter, Susanna's cousin
4570:Adventures of the Barber of Seville
2343:"Mozart's 'The Marriage of Figaro'"
1656:Via resti servita, madama brillante
1633:Se a caso madama la notte ti chiama
993:Via resti servita, madama brillante
950:Se a caso madama la notte ti chiama
457:, premiered in Prague in 1787 (see
186:) in four acts composed in 1786 by
24:
3597:Die Schuldigkeit des ersten Gebots
3403:
3294:Antonio Salieri and Viennese Opera
3038:, Penguin, New York, 1999, p. 131.
2335:
2181:Fantasia über 'Le nozze di Figaro'
1860:
1685:Non più andrai, farfallone amoroso
1603:
1496:
1436:
1366:Sull'aria ... che soave zeffiretto
977:), agrees to represent Marcellina
386:if one were to maintain that Herr
25:
4981:
4925:Operas by Wolfgang Amadeus Mozart
4622:The Cat Above and the Mouse Below
3846:Dies Bildnis ist bezaubernd schön
3431:
3005:ends CBSO season in high spirits"
2809:: Yale University Press. p.
2797:(2006). "Ten – Leaving Madrid.".
2158:used music from the opera in his
2102:" in the second act of his opera
1511:"Pian pianin le andrò più presso"
443:, which took place in June 1786.
4783:Fantasy on Themes from Mozart's
4715:Sull'aria...che soave zeffiretto
4411:
4410:
4271:Maria Anna Thekla Mozart (Bäsle)
3909:O zittre nicht, mein lieber Sohn
2868:Brown-Montesano, Kristi (2007).
2252:
1663:Non so più cosa son, cosa faccio
1569:
1551:
1533:
1515:
1475:
1452:
1402:
1340:
1306:
1261:
1210:
1192:
1174:
1156:
1138:
1086:
1052:
888:
856:
831:
27:Opera by Wolfgang Amadeus Mozart
4776: Related
4388:Beethoven–Haydn–Mozart Memorial
3366:. Penn State University Press.
3281:The Opera Goer's Complete Guide
3177:Haydn: A Creative Life in Music
3160:Mozart: A Documentary Biography
3104:
3085:Phillip Huscher (5 June 2014).
3078:
3041:
3016:
2994:
2975:
2915:English translation taken from
2909:
2884:
2862:
2843:
2787:
2757:
2701:
2667:
2653:
2641:
2629:
2617:
2605:
2593:
2576:
2563:
2550:
2538:
2525:
2501:
2488:
2476:
2151:Variations on 'Se vuol ballare'
1846:Pian pianin le andrò più presso
1641:Se vuol ballare, signor Contino
469:who took the role. To replace "
3882:Madamina, il catalogo è questo
3296:. University of Chicago Press.
3182:University of California Press
2588:Geiringer & Geiringer 1982
2418:
2386:
2373:
2353:
2305:
2094:. Mozart also quotes Figaro's
1707:Voi che sapete che cosa è amor
1547:"Pace, pace, mio dolce tesoro"
1529:"Tutto è tranquillo e placido"
1302:"Riconosci in questo amplesso"
1206:"Voi Signor, che giusto siete"
1188:"Ah! signore ... Cosa è stato"
250:, with its frank treatment of
13:
1:
3947:Die Entführung aus dem Serail
3727:Die Entführung aus dem Serail
2273:
2231:
1930:. The instrumentation of the
1825:In quegl'anni in cui val poco
1677:Giovani liete, fiori spargete
1152:"Signore, cos'è quel stupore"
300:, with a cast listed in the "
163:[leˈnɔttsediˈfiːɡaro]
4970:Libretti by Lorenzo Da Ponte
4297:(paternal great-grandfather)
4140:Concert arias, songs, canons
3900:O, wie will ich triumphieren
3413:Mozart: A Cultural Biography
3024:What to listen for in Mozart
2855:, transformed the aria into
1765:Riconosci in questo amplesso
1649:La vendetta, oh la vendetta!
1448:"Aprite un po' quegli occhi"
1082:"Voi che sapete cosa è amor"
652:Doctor Bartolo's housekeeper
236:Beaumarchais's earlier play
7:
4277:Franz Xaver Wolfgang Mozart
4259:Maria Anna Mozart (Nannerl)
3540:in Germany and Switzerland
3221:(2nd ed.). Macmillan.
3174:; Geiringer, Irene (1982).
2441:Memoirs of Lorenzo da Ponte
2381:Memoirs of Lorenzo Da Ponte
2245:
1811:L'ho perduta... me meschina
1626:Cinque... dieci... venti...
1134:"Esci omai, garzon malnato"
817:
771:
10:
4986:
3410:Gutman, Robert W. (2000).
3301:Robinson, Paul A. (1986).
3120:. Piccadilly: John Miller.
3091:Chicago Symphony Orchestra
2717:Singher & Singher 2003
2235:
2072:Other uses of the melodies
2041:Aprite un po' quegli occhi
1938:Frequently omitted numbers
1723:– Countess, Susanna, Count
1700:Porgi amor qualche ristoro
467:Adriana Ferrarese del Bene
448:Prager Oberpostamtszeitung
301:
29:
4877:Figaro läßt sich scheiden
4845:
4803:
4775:
4732:
4692:
4665:
4654:
4632:
4580:
4529:
4503:
4476:
4465:
4406:
4383:Mozart in popular culture
4370:
4334:
4237:
4195:Relationship with G minor
4130:
4049:
3984:
3928:
3818:
3585:
3246:Haydn: His Life and Music
2160:
2150:
2140:. Mozart also reused the
2126:
2040:
1950:
1944:
1735:Esci omai, garzon malnato
1672:– Susanna, Basilio, Count
1336:"Dove sono i bei momenti"
1018:
1009:
992:
983:
949:
943:
761:
542:Premiere cast, 1 May 1786
489:
483:
477:
471:
120:
101:
93:
83:
71:
59:
48:
41:
4831:The Ghosts of Versailles
4601:(Woody Woodpecker, 1944)
4591:Our Gang Follies of 1938
4112:Appearance and character
3251:Indiana University Press
3134:Chanan, Michael (1999).
3057:. Penguin. p. 256.
2773:. Rizzoli. p. 137.
2531:9 May 1786, quoted from
2401:Stendhal – Text und Bild
2268:List of operas by Mozart
2207:The Ghosts of Versailles
2188:quoted the opera in his
2136:instead of the original
1670:Cosa sento! tosto andate
1565:"Gente, gente, all'armi"
1421:RIAS-Symphonie-Orchester
1383:
1272:Dietrich Fischer-Dieskau
1242:
1033:
931:
567:Countess Rosina Almaviva
496:
435:Other early performances
390:music is anything but a
75:
4930:Italian-language operas
4885:The Abduction of Figaro
4488:(Paisiello, 1782 opera)
4485:Il barbiere di Siviglia
4398:Mozart Monument, Vienna
4043:Wolfgang Amadeus Mozart
3579:Wolfgang Amadeus Mozart
3360:; Singher, Eta (2003).
2600:Landon & Jones 1988
2084:Così fan tutte le belle
1797:Ecco la marcia, andiamo
1471:"Deh vieni, non tardar"
1362:Dove sono i bei momenti
1257:"Crudel! perchè finora"
813:outside Seville, Spain.
484:Venite, inginocchiatevi
478:Al desio di chi t'adora
188:Wolfgang Amadeus Mozart
4920:The Marriage of Figaro
4765:The Marriage of Figaro
4757:The Marriage of Figaro
4741:The Marriage of Figaro
4722:The Marriage of Figaro
4674:The Marriage of Figaro
4657:The Marriage of Figaro
4291:(paternal grandfather)
3974:The Marriage of Figaro
3767:The Marriage of Figaro
3757:Der Schauspieldirektor
3637:Mitridate, re di Ponto
3537:The Marriage of Figaro
3001:"Belly laugh: Verdi's
2958:The Marriage of Figaro
2721:
2584:Marianne von Genzinger
2239:The Marriage of Figaro
2222:The Marriage of Figaro
2180:
2170:
2144:that begins his early
2124:) for the Countess's "
2114:
2083:
2078:The Marriage of Figaro
2019:
2015:The Marriage of Figaro
1993:
1945:Il capro e la capretta
1874:The Marriage of Figaro
1870:
1818:Il capro e la capretta
1790:Ricevete, o padroncina
1721:Susanna or via sortite
1714:Venite inginocchiatevi
1501:
1441:
1004:
852:"Cinque, dieci, venti"
787:
779:continues the plot of
777:The Marriage of Figaro
418:
399:
339:
323:Count Orsini–Rosenberg
225:The Marriage of Figaro
198:. It premiered at the
152:
148:The Marriage of Figaro
106:
44:The Marriage of Figaro
4955:Operas based on plays
4893:Figaro Gets a Divorce
4625:(Tom and Jerry, 1964)
4598:The Barber of Seville
4562:Le Barbier de Séville
4554:The Barber of Seville
4546:The Barber of Seville
4538:The Barber of Seville
4519:The Barber of Seville
4496:(Rossini, 1816 opera)
4493:The Barber of Seville
4468:The Barber of Seville
3697:Thamos, King of Egypt
3617:Bastien und Bastienne
3237:Landon, H. C. Robbins
3184:. pp. xii, 403.
3054:Mozart and His Operas
2347:National Public Radio
2176:Johann Nepomuk Hummel
2174:for piano, Op. 72/4.
2080:(where Basilio sings
2010:
1980:
1914:are accompanied by a
1868:
1751:Crudel! perché finora
1658:– Susanna, Marcellina
1500:
1440:
1099:Performed in 1910 by
1002:
974:The Barber of Seville
782:The Barber of Seville
407:
350:
334:
239:The Barber of Seville
4677:(Mozart, 1786 opera)
4190:Compositional method
4170:Works for solo piano
3828:Canzonetta sull'aria
3677:La finta giardiniera
3657:Il sogno di Scipione
3607:Apollo et Hyacinthus
2765:Angermüller, Rudolph
2364:The Operas of Mozart
1926:, often joined by a
1782:Canzonetta sull'aria
1730:– Susanna, Cherubino
1728:Aprite presto aprite
1609:Overture – Orchestra
1588:Cherubino runs off.
944:Cinque, dieci, venti
244:version by Paisiello
125:1 May 1786
30:For other uses, see
4945:Operas set in Spain
4458:Pierre Beaumarchais
4289:Johann Georg Mozart
4224:Neue Mozart-Ausgabe
4217:Alte Mozart-Ausgabe
3873:Là ci darem la mano
3797:La clemenza di Tito
3471:diplomatic editions
3457:Neue Mozart-Ausgabe
3164:Stanford University
3156:Deutsch, Otto Erich
3007:by Mark Pullinger,
2988:by Keith Anderson,
2767:(1 November 1988).
2204:In his 1991 opera,
2038:in the act 4 aria "
2001:The Classical Style
1974:Critical discussion
1916:keyboard instrument
1785:– Susanna, Countess
1227:, 1960 (cast:
1010:Non so più cosa son
584:the countess's maid
530:
512:Neue Mozart-Ausgabe
401:The Hungarian poet
296:in Vienna on 1 May
285:Performance history
232:Composition history
204:Pierre Beaumarchais
180:commedia per musica
115:Pierre Beaumarchais
4872:(Mercadante, 1835)
4834:(Corigliano, 1991)
4609:(Bugs Bunny, 1950)
4283:Karl Thomas Mozart
3529:Complete recording
3519:Le nozze di Figaro
3441:Le nozze di Figaro
3416:. Harcourt Brace.
2960:– a musical guide"
2919:, pp. 273–274
2832:Synopsis based on
2748:Jander et al. 2001
2715:, p. 63; and
2698:II/5/16/1-2 (1973)
2690:Le nozze di Figaro
2368:Le Nozze di Figaro
1964:Metropolitan Opera
1876:is scored for two
1871:
1502:
1442:
1170:"Signore di fuori"
1005:
987:" – "Vengeance").
526:
519:, and Figaro to a
429:Nikolaus Esterházy
346:Wiener Realzeitung
190:, with an Italian
154:Le nozze di Figaro
77:Le nozze di Figaro
42:Le nozze di Figaro
18:Le nozze di Figaro
4907:
4906:
4903:
4902:
4888:(Schickele, 1984)
4841:
4840:
4806:The Guilty Mother
4799:
4798:
4650:
4649:
4606:Rabbit of Seville
4512:Largo al factotum
4460:'s Figaro Trilogy
4424:
4423:
4253:Anna Maria Mozart
4233:
4232:
4009:
4008:
3627:La finta semplice
3486:Complete libretto
3467:critical editions
3423:978-0-15-601171-6
3388:. HarperCollins.
3260:978-0-253-37265-9
3205:Forbes, Elizabeth
2820:978-0-300-12103-2
2411:978-3-8233-3990-8
2178:quoted it in his
1959:Adriana Ferrarese
1932:recitativi secchi
1911:recitativi secchi
1857:
1856:
1635:– Susanna, Figaro
1628:– Susanna, Figaro
1574:
1556:
1538:
1520:
1480:
1457:
1407:
1345:
1311:
1266:
1215:
1197:
1179:
1161:
1143:
1094:
1057:
956:droit du seigneur
898:Renato Capecchi,
893:
861:
836:
802:droit du seigneur
769:
768:
749:Francesco Bussani
676:Francesco Bussani
614:Francesco Benucci
509:published in the
459:Mozart and Prague
292:premiered at the
248:Mariage de Figaro
246:. Beaumarchais's
221:BBC News Magazine
144:
143:
16:(Redirected from
4977:
4850:
4849:
4823:La mère coupable
4812:
4811:
4663:
4662:
4474:
4473:
4451:
4444:
4437:
4428:
4427:
4414:
4413:
4303:(brother-in-law)
4265:Constanze Mozart
4211:Köchel catalogue
4201:
4200:
4185:Violin concertos
4036:
4029:
4022:
4013:
4012:
4002:
3995:
3977:
3968:
3959:
3950:
3941:
3921:
3912:
3903:
3894:
3885:
3876:
3867:
3858:
3849:
3840:
3831:
3811:
3801:
3791:
3781:
3771:
3761:
3751:
3741:
3731:
3721:
3711:
3701:
3691:
3681:
3671:
3661:
3651:
3641:
3631:
3621:
3611:
3601:
3571:
3564:
3557:
3548:
3547:
3543:
3531:at Mozart Archiv
3522:: Scores at the
3482:
3453:
3427:
3399:
3382:Solomon, Maynard
3377:
3358:Singher, Martial
3348:
3324:
3308:
3297:
3285:
3277:
3264:
3241:Jones, David Wyn
3232:
3195:
3180:(3rd ed.).
3167:
3151:
3122:
3121:
3112:Bishop, Henry R.
3108:
3102:
3101:
3099:
3097:
3082:
3076:
3075:
3073:
3071:
3045:
3039:
3022:Harris, Robert,
3020:
3014:
2998:
2992:
2979:
2973:
2972:, 14 August 2012
2953:
2944:
2938:
2932:
2926:
2920:
2913:
2907:
2888:
2882:
2866:
2860:
2847:
2841:
2831:
2829:
2827:
2804:
2791:
2785:
2784:
2761:
2755:
2724:
2705:
2699:
2686:
2677:
2671:
2665:
2657:
2651:
2645:
2639:
2633:
2627:
2621:
2615:
2609:
2603:
2597:
2591:
2590:, pp. 90–92
2586:, is printed in
2580:
2574:
2567:
2561:
2554:
2548:
2542:
2536:
2529:
2523:
2517:
2511:
2505:
2499:
2492:
2486:
2480:
2474:
2468:
2459:
2453:
2444:
2438:
2437:. pp. v–vi.
2432:
2422:
2416:
2415:
2390:
2384:
2377:
2371:
2357:
2351:
2350:
2339:
2333:
2332:
2330:
2328:
2319:. Archived from
2309:
2303:
2302:
2291:
2262:
2257:
2256:
2217:La Mère coupable
2183:
2173:
2163:
2162:
2153:
2152:
2146:bassoon concerto
2131:
2130:
2117:
2086:
2043:
2042:
1953:
1952:
1947:
1946:
1753:– Susanna, Count
1614:
1576:
1575:
1558:
1557:
1540:
1539:
1522:
1521:
1499:
1486:Irmgard Seefried
1482:
1481:
1459:
1458:
1439:
1409:
1408:
1347:
1346:
1313:
1312:
1276:Irmgard Seefried
1268:
1267:
1217:
1216:
1199:
1198:
1181:
1180:
1163:
1162:
1145:
1144:
1096:
1095:
1059:
1058:
1021:
1020:
1012:
1011:
995:
994:
986:
985:
952:
951:
946:
945:
900:Irmgard Seefried
895:
894:
863:
862:
843:Musopen Symphony
838:
837:
790:
788:la folle journée
757:
684:
645:
531:
529:
525:
507:critical edition
492:
491:
490:Un moto di gioia
486:
485:
480:
479:
474:
473:
331:
196:Lorenzo Da Ponte
178: 492, is a
173:
172:
171:
165:
160:
132:
130:
111:
88:Lorenzo Da Ponte
64:
39:
38:
21:
4985:
4984:
4980:
4979:
4978:
4976:
4975:
4974:
4910:
4909:
4908:
4899:
4837:
4826:(Milhaud, 1966)
4795:
4771:
4728:
4701:Se vuol ballare
4688:
4646:
4628:
4614:Magical Maestro
4582:
4576:
4525:
4499:
4461:
4455:
4425:
4420:
4402:
4366:
4347:Catholic Church
4330:
4327:(sister-in-law)
4321:(sister-in-law)
4315:(sister-in-law)
4309:(mother-in-law)
4229:
4199:
4165:Piano concertos
4126:
4045:
4040:
4010:
4005:
3998:
3993:Da Ponte operas
3991:
3980:
3971:
3965:The Magic Flute
3962:
3953:
3944:
3935:
3924:
3918:Se vuol ballare
3915:
3906:
3897:
3888:
3879:
3870:
3861:
3852:
3843:
3834:
3825:
3814:
3807:The Magic Flute
3804:
3794:
3784:
3774:
3764:
3754:
3747:Lo sposo deluso
3744:
3737:L'oca del Cairo
3734:
3724:
3714:
3704:
3694:
3684:
3674:
3664:
3654:
3647:Ascanio in Alba
3644:
3634:
3624:
3614:
3604:
3594:
3581:
3575:
3541:
3480:
3451:
3449:critical report
3434:
3424:
3409:
3406:
3404:Further reading
3396:
3374:
3345:
3321:
3271:
3261:
3229:
3192:
3172:Geiringer, Karl
3148:
3125:
3109:
3105:
3095:
3093:
3083:
3079:
3069:
3067:
3065:
3046:
3042:
3021:
3017:
2999:
2995:
2980:
2976:
2954:
2947:
2939:
2935:
2927:
2923:
2914:
2910:
2891:Gossett, Philip
2889:
2885:
2867:
2863:
2848:
2844:
2825:
2823:
2821:
2792:
2788:
2781:
2770:Mozart's Operas
2762:
2758:
2711:, p. 173;
2706:
2702:
2687:
2680:
2672:
2668:
2658:
2654:
2646:
2642:
2634:
2630:
2622:
2618:
2610:
2606:
2598:
2594:
2582:The letter, to
2581:
2577:
2568:
2564:
2555:
2551:
2543:
2539:
2530:
2526:
2518:
2514:
2506:
2502:
2493:
2489:
2481:
2477:
2469:
2462:
2454:
2447:
2423:
2419:
2412:
2391:
2387:
2378:
2374:
2358:
2354:
2349:. 13 July 2007.
2341:
2340:
2336:
2326:
2324:
2323:on 4 March 2016
2311:
2310:
2306:
2299:Classical Music
2293:
2292:
2285:
2276:
2258:
2251:
2248:
2243:
2234:
2226:John Corigliano
2199:Henry R. Bishop
2121:Coronation Mass
2074:
2058:Johannes Brahms
1976:
1968:Cecilia Bartoli
1940:
1863:
1861:Instrumentation
1858:
1606:
1604:Musical numbers
1581:
1580:
1579:
1578:
1577:
1570:
1567:
1561:
1560:
1559:
1552:
1549:
1543:
1542:
1541:
1534:
1531:
1525:
1524:
1523:
1516:
1513:
1507:
1503:
1497:
1492:
1491:
1490:
1489:
1488:
1483:
1476:
1473:
1467:
1466:
1465:
1463:Renato Capecchi
1460:
1453:
1450:
1443:
1437:
1428:
1427:
1426:
1425:
1424:
1410:
1403:
1400:
1386:
1358:
1357:
1356:
1355:
1354:
1348:
1341:
1338:
1325:
1324:
1323:
1322:
1321:
1314:
1307:
1304:
1291:
1290:
1289:
1288:
1287:
1269:
1262:
1259:
1245:
1236:
1235:
1234:
1233:
1232:
1218:
1211:
1208:
1202:
1201:
1200:
1193:
1190:
1184:
1183:
1182:
1175:
1172:
1166:
1165:
1164:
1157:
1154:
1148:
1147:
1146:
1139:
1136:
1130:
1108:
1107:
1106:
1105:
1104:
1097:
1087:
1084:
1071:
1070:
1069:
1068:
1067:
1060:
1053:
1050:
1036:
965:Se vuol ballare
934:
906:
905:
904:
903:
902:
896:
889:
886:
880:
879:
878:
867:Renato Capecchi
864:
857:
854:
848:
847:
846:
839:
832:
829:
820:
774:
751:
678:
639:
637:Dorotea Bussani
561:Stefano Mandini
547:: W. A. Mozart
543:
527:
499:
437:
403:Ferenc Kazinczy
325:
314:The Magic Flute
287:
234:
167:
166:
158:
140:
139:
133:
128:
126:
112:
79:
67:
43:
35:
28:
23:
22:
15:
12:
11:
5:
4983:
4973:
4972:
4967:
4962:
4957:
4952:
4947:
4942:
4937:
4932:
4927:
4922:
4905:
4904:
4901:
4900:
4898:
4897:
4896:(Langer, 2016)
4889:
4881:
4873:
4865:
4864:(Carafa, 1820)
4856:
4854:
4847:
4843:
4842:
4839:
4838:
4836:
4835:
4827:
4818:
4816:
4809:
4801:
4800:
4797:
4796:
4794:
4793:
4779:
4777:
4773:
4772:
4770:
4769:
4761:
4753:
4745:
4736:
4734:
4730:
4729:
4727:
4726:
4718:
4711:
4708:Non più andrai
4704:
4696:
4694:
4690:
4689:
4687:
4686:
4685:(2004 musical)
4678:
4669:
4667:
4660:
4652:
4651:
4648:
4647:
4645:
4644:
4636:
4634:
4630:
4629:
4627:
4626:
4618:
4610:
4602:
4594:
4586:
4584:
4578:
4577:
4575:
4574:
4566:
4558:
4550:
4542:
4533:
4531:
4527:
4526:
4524:
4523:
4515:
4507:
4505:
4501:
4500:
4498:
4497:
4489:
4480:
4478:
4471:
4463:
4462:
4454:
4453:
4446:
4439:
4431:
4422:
4421:
4419:
4418:
4407:
4404:
4403:
4401:
4400:
4395:
4390:
4385:
4380:
4374:
4372:
4368:
4367:
4365:
4364:
4359:
4354:
4349:
4344:
4338:
4336:
4332:
4331:
4329:
4328:
4322:
4316:
4310:
4304:
4298:
4292:
4286:
4280:
4274:
4273:(first cousin)
4268:
4262:
4256:
4250:
4247:Leopold Mozart
4243:
4241:
4235:
4234:
4231:
4230:
4228:
4227:
4220:
4213:
4207:
4205:
4198:
4197:
4192:
4187:
4182:
4177:
4172:
4167:
4162:
4157:
4152:
4150:Horn concertos
4147:
4142:
4136:
4134:
4128:
4127:
4125:
4124:
4119:
4114:
4109:
4104:
4099:
4094:
4089:
4084:
4079:
4074:
4069:
4064:
4059:
4053:
4051:
4047:
4046:
4039:
4038:
4031:
4024:
4016:
4007:
4006:
4004:
4003:
3996:
3988:
3986:
3982:
3981:
3979:
3978:
3969:
3960:
3951:
3942:
3938:Così fan tutte
3932:
3930:
3926:
3925:
3923:
3922:
3913:
3904:
3895:
3891:Non più andrai
3886:
3877:
3868:
3859:
3850:
3841:
3832:
3822:
3820:
3816:
3815:
3813:
3812:
3802:
3792:
3787:Così fan tutte
3782:
3772:
3762:
3752:
3742:
3732:
3722:
3712:
3702:
3692:
3682:
3672:
3662:
3652:
3642:
3632:
3622:
3612:
3602:
3591:
3589:
3583:
3582:
3574:
3573:
3566:
3559:
3551:
3545:
3544:
3532:
3526:
3515:
3503:
3498:
3493:
3488:
3483:
3474:
3460:
3437:
3433:
3432:External links
3430:
3429:
3428:
3422:
3405:
3402:
3401:
3400:
3394:
3386:Mozart: A Life
3378:
3372:
3354:
3351:At archive.org
3343:
3329:Rosen, Charles
3325:
3319:
3298:
3286:
3265:
3259:
3233:
3227:
3199:Jander, Owen;
3196:
3190:
3168:
3152:
3146:
3124:
3123:
3103:
3077:
3063:
3040:
3036:Mozart: A Life
3015:
3013:, 14 July 2016
2993:
2974:
2945:
2943:, p. 183.
2933:
2931:, p. 182.
2921:
2908:
2883:
2861:
2842:
2819:
2786:
2779:
2756:
2700:
2678:
2666:
2652:
2640:
2628:
2616:
2604:
2592:
2575:
2562:
2549:
2537:
2524:
2522:, p. 331.
2512:
2500:
2487:
2475:
2460:
2445:
2417:
2410:
2385:
2372:
2352:
2334:
2304:
2282:
2275:
2272:
2271:
2270:
2264:
2263:
2247:
2244:
2236:Main article:
2233:
2230:
2156:Ferdinand Ries
2100:Non più andrai
2091:Così fan tutte
2073:
2070:
1975:
1972:
1951:In quegli anni
1939:
1936:
1862:
1859:
1855:
1854:
1850:
1849:
1842:
1835:
1828:
1821:
1814:
1801:
1800:
1793:
1786:
1777:
1768:
1761:
1754:
1740:
1739:
1738:
1731:
1724:
1717:
1710:
1703:
1690:
1689:
1680:
1673:
1666:
1659:
1652:
1645:
1636:
1629:
1612:
1611:
1610:
1605:
1602:
1568:
1563:
1562:
1550:
1545:
1544:
1532:
1527:
1526:
1514:
1509:
1508:
1505:
1504:
1495:
1494:
1493:
1484:
1474:
1469:
1468:
1461:
1451:
1446:
1445:
1444:
1435:
1434:
1433:
1417:Ferenc Fricsay
1413:Rosl Schwaiger
1411:
1401:
1398:"L'ho perduta"
1396:
1395:
1394:
1393:
1392:
1385:
1382:
1349:
1339:
1334:
1333:
1332:
1331:
1330:
1315:
1305:
1300:
1299:
1298:
1297:
1296:
1284:Ferenc Fricsay
1270:
1260:
1255:
1254:
1253:
1252:
1251:
1244:
1241:
1221:Ferenc Fricsay
1219:
1209:
1204:
1203:
1191:
1186:
1185:
1173:
1168:
1167:
1155:
1150:
1149:
1137:
1132:
1131:
1128:
1127:
1126:
1125:
1098:
1085:
1080:
1079:
1078:
1077:
1076:
1061:
1051:
1046:
1045:
1044:
1043:
1042:
1035:
1032:
1024:Non più andrai
933:
930:
897:
887:
882:
881:
875:Ferenc Fricsay
865:
855:
850:
849:
840:
830:
825:
824:
823:
822:
821:
819:
816:
815:
814:
773:
770:
767:
766:
759:
758:
746:
743:
736:
735:
730:
727:
720:
719:
714:
711:
704:
703:
698:
693:
686:
685:
673:
670:
663:
662:
657:
654:
647:
646:
634:
627:
617:
616:
611:
606:
595:
594:
589:
586:
579:
578:
573:
568:
564:
563:
558:
553:
552:Count Almaviva
549:
548:
540:
535:
517:mezzo-sopranos
498:
495:
436:
433:
344:The newspaper
286:
283:
271:Così fan tutte
252:class conflict
233:
230:
142:
141:
134:
124:
122:
118:
117:
103:
99:
98:
95:
91:
90:
85:
81:
80:
73:
69:
68:
65:
57:
56:
46:
45:
26:
9:
6:
4:
3:
2:
4982:
4971:
4968:
4966:
4963:
4961:
4958:
4956:
4953:
4951:
4948:
4946:
4943:
4941:
4938:
4936:
4933:
4931:
4928:
4926:
4923:
4921:
4918:
4917:
4915:
4895:
4894:
4890:
4887:
4886:
4882:
4880:(Klebe, 1963)
4879:
4878:
4874:
4871:
4870:
4866:
4863:
4862:
4858:
4857:
4855:
4851:
4848:
4844:
4833:
4832:
4828:
4825:
4824:
4820:
4819:
4817:
4813:
4810:
4808:
4807:
4802:
4791:
4790:
4786:
4781:
4780:
4778:
4774:
4767:
4766:
4762:
4759:
4758:
4754:
4751:
4750:
4746:
4743:
4742:
4738:
4737:
4735:
4731:
4725:
4723:
4719:
4716:
4712:
4709:
4705:
4702:
4698:
4697:
4695:
4691:
4684:
4683:
4679:
4676:
4675:
4671:
4670:
4668:
4664:
4661:
4659:
4658:
4653:
4642:
4638:
4637:
4635:
4631:
4624:
4623:
4619:
4616:
4615:
4611:
4608:
4607:
4603:
4600:
4599:
4595:
4593:
4592:
4588:
4587:
4585:
4579:
4572:
4571:
4567:
4564:
4563:
4559:
4556:
4555:
4551:
4548:
4547:
4543:
4540:
4539:
4535:
4534:
4532:
4528:
4522:
4520:
4516:
4513:
4509:
4508:
4506:
4502:
4495:
4494:
4490:
4487:
4486:
4482:
4481:
4479:
4475:
4472:
4470:
4469:
4464:
4459:
4452:
4447:
4445:
4440:
4438:
4433:
4432:
4429:
4417:
4409:
4408:
4405:
4399:
4396:
4394:
4393:Mozart effect
4391:
4389:
4386:
4384:
4381:
4379:
4376:
4375:
4373:
4369:
4363:
4360:
4358:
4355:
4353:
4350:
4348:
4345:
4343:
4340:
4339:
4337:
4333:
4326:
4323:
4320:
4319:Aloysia Weber
4317:
4314:
4313:Josepha Weber
4311:
4308:
4307:Cäcilia Weber
4305:
4302:
4299:
4296:
4293:
4290:
4287:
4284:
4281:
4278:
4275:
4272:
4269:
4266:
4263:
4260:
4257:
4254:
4251:
4248:
4245:
4244:
4242:
4240:
4236:
4226:
4225:
4221:
4219:
4218:
4214:
4212:
4209:
4208:
4206:
4202:
4196:
4193:
4191:
4188:
4186:
4183:
4181:
4178:
4176:
4173:
4171:
4168:
4166:
4163:
4161:
4158:
4156:
4153:
4151:
4148:
4146:
4143:
4141:
4138:
4137:
4135:
4133:
4129:
4123:
4120:
4118:
4115:
4113:
4110:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4090:
4088:
4085:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4058:
4055:
4054:
4052:
4048:
4044:
4037:
4032:
4030:
4025:
4023:
4018:
4017:
4014:
4001:
4000:Derived works
3997:
3994:
3990:
3989:
3987:
3983:
3976:
3975:
3970:
3967:
3966:
3961:
3958:
3957:
3952:
3949:
3948:
3943:
3940:
3939:
3934:
3933:
3931:
3929:Discographies
3927:
3919:
3914:
3910:
3905:
3901:
3896:
3892:
3887:
3883:
3878:
3874:
3869:
3865:
3864:Il mio tesoro
3860:
3856:
3851:
3847:
3842:
3838:
3833:
3829:
3824:
3823:
3821:
3817:
3809:
3808:
3803:
3799:
3798:
3793:
3789:
3788:
3783:
3779:
3778:
3773:
3769:
3768:
3763:
3759:
3758:
3753:
3749:
3748:
3743:
3739:
3738:
3733:
3729:
3728:
3723:
3719:
3718:
3713:
3709:
3708:
3703:
3699:
3698:
3693:
3689:
3688:
3687:Il re pastore
3683:
3679:
3678:
3673:
3669:
3668:
3663:
3659:
3658:
3653:
3649:
3648:
3643:
3639:
3638:
3633:
3629:
3628:
3623:
3619:
3618:
3613:
3609:
3608:
3603:
3599:
3598:
3593:
3592:
3590:
3588:
3584:
3580:
3572:
3567:
3565:
3560:
3558:
3553:
3552:
3549:
3539:
3538:
3533:
3530:
3527:
3525:
3521:
3520:
3516:
3513:
3509:
3508:
3504:
3502:
3499:
3497:
3494:
3492:
3489:
3487:
3484:
3478:
3475:
3472:
3468:
3464:
3461:
3459:
3458:
3450:
3446:
3442:
3438:
3436:
3435:
3425:
3419:
3415:
3414:
3408:
3407:
3397:
3395:9780060190460
3391:
3387:
3383:
3379:
3375:
3373:0-271-02354-6
3369:
3365:
3364:
3359:
3355:
3352:
3346:
3344:0-393-31712-9
3340:
3336:
3335:
3330:
3326:
3322:
3320:0-8014-9428-1
3316:
3312:
3307:
3306:
3299:
3295:
3291:
3290:Rice, John A.
3287:
3283:
3282:
3275:
3270:
3266:
3262:
3256:
3252:
3248:
3247:
3242:
3238:
3234:
3230:
3228:0-333-60800-3
3224:
3220:
3219:
3214:
3210:
3209:Stanley Sadie
3206:
3202:
3201:Steane, J. B.
3197:
3193:
3191:0-520-04316-2
3187:
3183:
3179:
3178:
3173:
3169:
3165:
3161:
3157:
3153:
3149:
3147:1-85984-706-4
3143:
3139:
3138:
3132:
3131:
3130:
3129:
3119:
3118:
3113:
3107:
3092:
3088:
3081:
3066:
3064:9780141904054
3060:
3056:
3055:
3050:
3049:Cairns, David
3044:
3037:
3033:
3029:
3025:
3019:
3012:
3011:
3006:
3004:
2997:
2991:
2990:Naxos Records
2987:
2985:
2978:
2971:
2970:
2965:
2961:
2959:
2952:
2950:
2942:
2937:
2930:
2925:
2918:
2912:
2906:
2902:
2898:
2897:
2892:
2887:
2881:
2877:
2873:
2872:
2865:
2858:
2854:
2853:
2846:
2839:
2835:
2822:
2816:
2812:
2808:
2803:
2802:
2796:
2790:
2782:
2780:9780847809936
2776:
2772:
2771:
2766:
2760:
2754:in the score.
2753:
2749:
2744:
2740:
2736:
2732:
2728:
2723:
2718:
2714:
2710:
2709:Robinson 1986
2704:
2697:
2693:
2691:
2685:
2683:
2675:
2670:
2664:, p. 272
2663:
2656:
2650:, p. 285
2649:
2644:
2638:, p. 280
2637:
2632:
2626:, p. 281
2625:
2620:
2614:, p. 276
2613:
2608:
2602:, p. 174
2601:
2596:
2589:
2585:
2579:
2573:, p. 276
2572:
2566:
2560:, p. 278
2559:
2553:
2547:, p. 275
2546:
2541:
2535:, p. 272
2534:
2528:
2521:
2516:
2510:, p. 272
2509:
2504:
2498:, p. 272
2497:
2491:
2484:
2479:
2472:
2467:
2465:
2458:, p. 274
2457:
2452:
2450:
2442:
2436:
2431:
2430:
2421:
2413:
2407:
2403:
2402:
2395:
2389:
2382:
2376:
2369:
2365:
2361:
2360:Mann, William
2356:
2348:
2344:
2338:
2322:
2318:
2314:
2308:
2300:
2296:
2290:
2288:
2283:
2281:
2280:
2269:
2266:
2265:
2261:
2255:
2250:
2242:
2240:
2229:
2227:
2224:also appear,
2223:
2219:
2218:
2213:
2209:
2208:
2202:
2200:
2195:
2193:
2192:
2187:
2182:
2177:
2172:
2167:
2157:
2147:
2143:
2139:
2135:
2129:
2123:
2122:
2116:
2115:Krönungsmesse
2111:
2107:
2106:
2101:
2097:
2093:
2092:
2087:
2085:
2079:
2069:
2067:
2063:
2059:
2055:
2053:
2052:
2047:
2037:
2032:
2029:
2024:
2018:
2016:
2009:
2007:
2003:
2002:
1997:
1996:Charles Rosen
1992:
1990:
1985:
1979:
1971:
1969:
1966:in 1998 with
1965:
1960:
1955:
1935:
1933:
1929:
1925:
1921:
1917:
1913:
1912:
1907:
1903:
1899:
1895:
1891:
1887:
1883:
1879:
1875:
1869:Libretto 1786
1867:
1853:
1847:
1843:
1840:
1836:
1833:
1829:
1826:
1822:
1819:
1815:
1812:
1808:
1807:
1806:
1805:
1798:
1794:
1791:
1787:
1784:
1783:
1778:
1775:
1774:
1769:
1766:
1762:
1759:
1755:
1752:
1748:
1747:
1746:
1745:
1741:
1736:
1732:
1729:
1725:
1722:
1718:
1715:
1711:
1708:
1704:
1701:
1697:
1696:
1695:
1694:
1687:
1686:
1681:
1678:
1674:
1671:
1667:
1664:
1660:
1657:
1653:
1650:
1646:
1643:
1642:
1637:
1634:
1630:
1627:
1623:
1622:
1621:
1620:
1616:
1615:
1608:
1607:
1601:
1597:
1593:
1589:
1585:
1566:
1548:
1530:
1512:
1487:
1472:
1464:
1449:
1432:
1422:
1418:
1414:
1399:
1391:
1390:
1381:
1377:
1373:
1371:
1367:
1363:
1352:
1337:
1329:
1319:
1303:
1295:
1285:
1281:
1277:
1273:
1258:
1250:
1249:
1240:
1230:
1226:
1222:
1207:
1189:
1171:
1153:
1135:
1124:
1120:
1116:
1114:
1102:
1083:
1075:
1065:
1049:
1048:"Porgi, amor"
1041:
1040:
1031:
1029:
1026:" – "No more
1025:
1014:
1001:
997:
988:
980:
976:
975:
968:
966:
962:
958:
957:
939:
938:
929:
927:
923:
919:
915:
911:
901:
885:
876:
872:
868:
853:
844:
841:Performed by
828:
812:
808:
807:
806:
804:
803:
798:
794:
789:
784:
783:
778:
764:
760:
755:
750:
747:
744:
742:
738:
737:
734:
733:Anna Gottlieb
731:
728:
726:
722:
721:
718:
717:Michael Kelly
715:
712:
710:
706:
705:
702:
701:Michael Kelly
699:
697:
694:
692:
691:music teacher
688:
687:
682:
677:
674:
671:
669:
665:
664:
661:
660:Maria Mandini
658:
655:
653:
649:
648:
643:
638:
635:
632:
631:breeches role
628:
626:
625:
619:
618:
615:
612:
610:
607:
605:
603:
597:
596:
593:
592:Nancy Storace
590:
587:
585:
581:
580:
577:
574:
572:
569:
566:
565:
562:
559:
557:
554:
551:
550:
546:
541:
539:
536:
533:
532:
524:
522:
521:bass-baritone
518:
514:
513:
508:
504:
494:
468:
462:
460:
456:
455:
449:
444:
442:
432:
430:
426:
422:
417:
415:
411:
406:
404:
398:
395:
393:
389:
385:
384:tastelessness
381:
376:
373:
371:
367:
363:
359:
354:
349:
347:
342:
338:
333:
329:
324:
320:
316:
315:
309:
307:
303:
299:
295:
291:
282:
280:
275:
273:
272:
267:
266:
260:
257:
253:
249:
245:
241:
240:
229:
226:
222:
218:
213:
211:
210:
205:
201:
197:
193:
189:
185:
181:
177:
170:
164:
156:
155:
150:
149:
137:
123:
119:
116:
110:
109:
104:
100:
96:
92:
89:
86:
82:
78:
74:
70:
63:
58:
55:
51:
47:
40:
37:
33:
19:
4891:
4883:
4875:
4869:I due Figaro
4867:
4861:I due Figaro
4859:
4829:
4821:
4804:
4789:Don Giovanni
4788:
4784:
4763:
4755:
4747:
4739:
4721:
4680:
4673:
4672:
4655:
4620:
4612:
4604:
4596:
4589:
4568:
4560:
4552:
4544:
4536:
4518:
4491:
4483:
4466:
4378:Georg Nissen
4325:Sophie Weber
4301:Joseph Lange
4295:Franz Mozart
4222:
4215:
4117:Pet starling
3973:
3964:
3956:Don Giovanni
3955:
3946:
3937:
3805:
3795:
3785:
3777:Don Giovanni
3775:
3766:
3765:
3755:
3745:
3735:
3725:
3715:
3705:
3695:
3685:
3675:
3665:
3655:
3645:
3635:
3625:
3615:
3605:
3595:
3536:
3518:
3506:
3481:(in Italian)
3455:
3440:
3412:
3385:
3362:
3332:
3304:
3293:
3280:
3245:
3216:
3213:John Tyrrell
3176:
3159:
3136:
3127:
3126:
3116:
3106:
3094:. Retrieved
3080:
3068:. Retrieved
3053:
3043:
3035:
3023:
3018:
3008:
3002:
2996:
2983:
2977:
2969:The Guardian
2967:
2957:
2936:
2924:
2917:Deutsch 1965
2911:
2895:
2886:
2870:
2864:
2852:Don Giovanni
2850:
2845:
2824:. Retrieved
2800:
2795:Thomas, Hugh
2789:
2769:
2759:
2742:
2703:
2695:
2689:
2669:
2662:Deutsch 1965
2655:
2648:Deutsch 1965
2643:
2636:Deutsch 1965
2631:
2624:Deutsch 1965
2619:
2612:Deutsch 1965
2607:
2595:
2578:
2571:Deutsch 1965
2565:
2558:Deutsch 1965
2552:
2545:Deutsch 1965
2540:
2533:Deutsch 1965
2527:
2515:
2508:Deutsch 1965
2503:
2496:Deutsch 1965
2490:
2483:Deutsch 1965
2478:
2471:Solomon 1995
2456:Deutsch 1965
2440:
2428:
2420:
2400:
2388:
2380:
2375:
2367:
2363:
2355:
2346:
2337:
2325:. Retrieved
2321:the original
2307:
2298:
2278:
2277:
2260:Opera portal
2238:
2221:
2215:
2211:
2205:
2203:
2196:
2189:
2119:
2110:Contredanses
2105:Don Giovanni
2103:
2089:
2081:
2077:
2075:
2061:
2056:
2049:
2033:
2022:
2020:
2014:
2011:
1999:
1994:
1984:
1981:
1977:
1970:as Susanna.
1956:
1941:
1931:
1918:, usually a
1909:
1873:
1872:
1851:
1845:
1838:
1831:
1824:
1820:– Marcellina
1817:
1810:
1803:
1802:
1796:
1792:– Farm girls
1789:
1780:
1771:
1764:
1757:
1750:
1743:
1742:
1734:
1727:
1720:
1713:
1706:
1699:
1692:
1691:
1683:
1676:
1669:
1662:
1655:
1648:
1639:
1632:
1625:
1618:
1617:
1598:
1594:
1590:
1586:
1582:
1506:Act 4 finale
1429:
1388:
1387:
1378:
1374:
1359:
1351:Maria Stader
1326:
1292:
1247:
1246:
1237:
1129:Act 2 finale
1121:
1117:
1109:
1101:Nellie Melba
1072:
1062:Provided by
1038:
1037:
1028:gallivanting
1015:
1006:
989:
978:
972:
969:
954:
940:
936:
935:
925:
907:
800:
796:
780:
776:
775:
740:
724:
708:
707:Don Curzio,
690:
667:
651:
650:Marcellina,
622:the Count's
621:
604:to the count
599:
583:
576:Luisa Laschi
510:
500:
487:" he wrote "
475:" he wrote "
463:
454:Don Giovanni
452:
447:
445:
438:
421:Joseph Haydn
419:
408:
400:
396:
387:
383:
379:
377:
374:
369:
365:
361:
357:
355:
351:
345:
343:
340:
335:
332:as follows:
312:
310:
306:Joseph Weigl
289:
288:
276:
269:
265:Don Giovanni
263:
261:
247:
237:
235:
224:
214:
207:
179:
153:
147:
146:
145:
76:
72:Native title
54:W. A. Mozart
36:
4950:1786 operas
4935:Opera buffa
4724:discography
4521:discography
4352:Freemasonry
4077:Nationality
4057:Biographies
3667:Lucio Silla
3542:(in German)
3452:(in German)
3272: [
3269:Melitz, Leo
2964:Tom Service
2836:, pp.
2834:Melitz 1921
2743:basso buffo
2713:Chanan 1999
2674:Dexter Edge
2241:discography
2186:Franz Liszt
2184:, Op. 124.
2164:, Op. 77.
2006:sonata form
1989:recitatives
1924:harpsichord
1813:– Barbarina
1709:– Cherubino
1665:– Cherubino
1318:discography
1229:discography
1019:Cosa sento!
984:La vendetta
924:marking is
752: [
723:Barbarina,
679: [
640: [
620:Cherubino,
503:voice types
392:masterpiece
326: [
294:Burgtheater
200:Burgtheater
194:written by
184:opera buffa
136:Burgtheater
4914:Categories
4641:The Barber
4581:Shorts and
4335:Influences
4180:Symphonies
4067:Grand tour
4062:Birthplace
3577:Operas by
3032:0743244044
2941:Rosen 1997
2929:Rosen 1997
2905:0226304876
2880:052093296X
2857:Tafelmusik
2556:Quoted in
2473:, p.
2327:11 January
2274:References
2232:Recordings
2023:recitativi
1920:fortepiano
1776:– Countess
1702:– Countess
912:is in the
538:Voice type
425:Eszterháza
414:fortepiano
159:pronounced
151:(Italian:
129:1786-05-01
84:Librettist
4583:animation
4342:Beethoven
4087:Scatology
4082:Residence
4050:Biography
3855:Dove sono
3140:. Verso.
3070:19 August
3010:Bachtrack
2826:27 August
2807:New Haven
2752:tessitura
2731:contralto
2520:Rice 1999
2439:(Quoting
2317:Operabase
2197:In 1819,
2166:Moscheles
2128:Dove sono
2066:Beethoven
2036:cuckoldry
1886:clarinets
1841:– Susanna
1827:– Basilio
1716:– Susanna
1651:– Bartolo
739:Antonio,
689:Basilio,
666:Bartolo,
629:soprano (
600:personal
582:Susanna,
545:Conductor
472:Deh vieni
441:Laxenburg
256:Joseph II
217:Operabase
4643:" (1993)
4416:Category
4261:(sister)
4255:(mother)
4249:(father)
4204:Editions
4092:Smallpox
3717:Idomeneo
3477:Libretto
3463:Libretto
3384:(1995).
3331:(1997).
3292:(1999).
3278:(1921).
3243:(1988).
3215:(eds.).
3158:(1965).
3114:(1819).
3051:(2007).
3026:, 2002,
3003:Falstaff
2984:Falstaff
2893:(2008).
2722:baritono
2435:Schirmer
2394:Stendhal
2246:See also
2194:S. 697.
2051:Falstaff
1890:bassoons
1834:– Figaro
1688:– Figaro
1679:– Chorus
1644:– Figaro
979:pro bono
961:Cavatina
910:overture
827:Overture
818:Overture
772:Synopsis
598:Figaro,
556:baritone
394:of art.
388:Mozart's
192:libretto
138:, Vienna
121:Premiere
102:Based on
94:Language
4846:Related
4792:(Liszt)
4633:Related
4371:Related
4362:Salieri
4175:Sonatas
3985:Related
3454:in the
3128:Sources
2982:"Verdi
2838:251–254
2727:soprano
2138:F major
2134:C major
1906:strings
1902:timpani
1898:clarini
1760:– Count
1064:Musopen
918:D major
811:leagues
793:Seville
729:soprano
656:soprano
588:soprano
571:soprano
410:Storace
319:encored
279:florins
127: (
97:Italian
4940:Operas
4785:Figaro
4768:(1960)
4760:(1949)
4752:(1929)
4749:Figaro
4744:(1920)
4617:(1952)
4573:(1954)
4565:(1948)
4557:(1947)
4549:(1938)
4541:(1904)
4267:(wife)
4239:Family
4160:Operas
4155:Masses
4145:Dances
4107:Prague
4102:Berlin
3810:(1791)
3800:(1791)
3790:(1790)
3780:(1787)
3770:(1786)
3760:(1786)
3750:(1784)
3740:(1783)
3730:(1782)
3720:(1781)
3710:(1780)
3700:(1779)
3690:(1775)
3680:(1775)
3670:(1772)
3660:(1772)
3650:(1771)
3640:(1770)
3630:(1769)
3620:(1768)
3610:(1767)
3600:(1767)
3587:Operas
3514:(1888)
3512:Ditson
3439:
3420:
3392:
3370:
3341:
3317:
3257:
3225:
3188:
3166:Press.
3144:
3096:8 June
3061:
3030:
2903:
2878:
2817:
2777:
2737:" or "
2729:" or "
2692:, p. 2
2408:
2214:play (
2212:Figaro
2132:", in
2062:Figaro
1908:; the
1904:, and
1896:, two
1892:, two
1888:, two
1884:, two
1880:, two
1878:flutes
1852:
1423:, 1960
1370:zephyr
1286:(1960)
1103:(3:24)
1066:(3:36)
926:presto
920:; the
877:(1960)
845:(4:00)
797:Barber
763:Chorus
382:or to
358:public
290:Figaro
4693:Music
4666:Stage
4504:Music
4477:Stage
4357:Haydn
4285:(son)
4279:(son)
4132:Music
4122:Death
4097:Italy
3819:Arias
3707:Zaide
3445:Score
3276:]
2735:tenor
2279:Notes
2142:motif
2046:Verdi
2028:tutti
1998:, in
1928:cello
1922:or a
1894:horns
1882:oboes
1804:Act 4
1744:Act 3
1693:Act 2
1619:Act 1
1384:Act 4
1243:Act 3
1034:Act 2
932:Act 1
922:tempo
756:]
713:tenor
709:judge
696:tenor
683:]
644:]
602:valet
534:Role
497:Roles
380:cabal
362:bravo
330:]
302:Roles
50:Opera
4787:and
4733:Film
4530:Film
4072:Name
3447:and
3418:ISBN
3390:ISBN
3368:ISBN
3339:ISBN
3315:ISBN
3255:ISBN
3223:ISBN
3186:ISBN
3142:ISBN
3098:2020
3072:2014
3059:ISBN
3028:ISBN
2901:ISBN
2876:ISBN
2828:2008
2815:ISBN
2775:ISBN
2739:bass
2707:See
2406:ISBN
2329:2015
2096:aria
1954:").
1844:28.
1837:27.
1830:26.
1823:25.
1816:24.
1809:23.
1795:22.
1788:21.
1779:20.
1770:19.
1763:18.
1756:17.
1749:16.
1733:15.
1726:14.
1719:13.
1712:12.
1705:11.
1698:10.
1372:").
1113:seal
1030:").
908:The
745:bass
672:bass
624:page
609:bass
501:The
368:and
356:The
298:1786
268:and
3311:173
2962:by
2811:143
2696:NMA
2068:."
2044:".
1682:9.
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1661:6.
1654:5.
1647:4.
1638:3.
1631:2.
1624:1.
963:: "
916:of
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461:).
370:Pst
366:St!
174:),
113:by
52:by
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2694:,
2681:^
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2286:^
2054:.
1900:,
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1223:,
873:,
869:,
754:it
681:it
642:it
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431:.
328:de
206:,
176:K.
157:,
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4699:"
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