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241:. The story's premise is that several years ago, while the Count was away on a long business trip, the Countess and Chérubin spent a night together. When the Countess told Chérubin that what they did was wrong and that she could never see him again, he went away to war and intentionally let himself be mortally wounded on the field. As he lay dying, he wrote a final letter to the Countess, declaring his love and regrets, and making mention of all the things they had done. The Countess did not have the heart to throw away the letter, and instead had a special box supplied by an Irishman called Bégearss, with a secret compartment in which to store the incriminating note, so the Count would never find it. Soon after, to her dismay, the Countess discovered herself pregnant with Chérubin's child.
267:'s day, the birthday of the son the Countess has had with the former page, Chérubin. Ever since the Count and Countess's only son died in a duel, the Count has been hostile to Léon, who he suspects is the fruit of the Countess's adultery. Monsieur Bégearss, an Irishman, is introduced to the household. Figaro and Suzanne suspect him of wanting to betray them. He wants to marry Florestine, the ward of the Count, and to move Léon—who also wants to marry Florestine—away to Malta, accompanied by Figaro. Bégearss calls the Count's attention to a letter that Chérubin wrote to the Countess, which confirms the Count's suspicions about his wife's infidelity and Léon's parentage.
114:'s original, he gains such influence over the head of the household that even when the latter finally understands the deception, the intruder is so firmly in control of the family's affairs that is only with difficulty that he is defeated. BĂ©gearss is almost certainly based one of Beaumarchais's enemies, a lawyer called
244:
The Count has been suspicious all these years that he is not the father of LĂ©on, the
Countess's son, and so he has been rapidly trying to spend his fortune to ensure the boy won't inherit any of it, even having gone so far as to renounce his title and move the family to Paris; but he has nevertheless
306:
The
Countess adopts Florestine as her daughter and tells her not to marry BĂ©gearss; the Count adopts LĂ©on as his son. BĂ©gearss returns from a notary, now in a strong legal position over the Count's money. By complicated trickery led by Figaro, BĂ©gearss is finally outwitted and sent away empty-handed
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Figaro and
Suzanne convince the Count and Countess that BĂ©gearss is a bad man who is plotting against them. The disclosure of BĂ©gearss's treachery brings the Count and Countess together. Almaviva, overwhelmed by relief at seeing Florestine saved from marrying BĂ©gearss, is ready to forgo his fortune;
275:
Having read the letter the Count is infuriated, finding at last substantiation of his suspicions. He consents to BĂ©gearss marrying
Florestine. BĂ©gearss tells the household that Florestine is in fact the Count's daughter, and that she therefore cannot marry LeĂłn. She dissolves into tears and LeĂłn is
248:
Meanwhile, the Count has an illegitimate child of his own, a daughter named
Florestine. BĂ©gearss wants to marry her, and to ensure that she will be the Count's only heir, he begins to stir up trouble over the Countess's secret. Figaro and Suzanne, who are still married, must once again come to the
284:
The
Countess is persuaded that it will be in Florestine's best interests to marry BĂ©gearss; the Count is prepared to give a substantial part of his fortune to Begearss as part of the marriage settlement. At the insistence of BĂ©gearss, the Countess tearfully burns the letters she has kept from
135:
on 26 June 1792, and ran for fifteen performances across six weeks. Soon after this, Beaumarchais found it prudent for political reasons to go into voluntary exile. In his absence his friends arranged for the text of the play to be published, in the hope of preventing unauthorised editions by
293:
The
Countess promises LĂ©on she will appeal to the Count. She makes an eloquent plea, but the Count rebukes her over her adultery. The Countess faints, and the Count hastens to summon help. Suzanne and Figaro uncover BĂ©gearss's plot, and are determined that he must be prevented from marrying
262:
Figaro and his wife
Suzanne are still in the service of Count Almaviva and his wife Rosine, but the household has all moved to France. The Count is there with the intention of dissipating his large fortune, not wishing to leave it to his heir, LĂ©on. The piece begins on
319:
As with the other Figaro plays, there are operatic versions; as with the play itself, they are not nearly as well known as those made from the two earlier plays; and unlike the operas based on the earlier plays, adaptations of
199:, Irishman, a Major in the Spanish military, an old secretary to the Count when he was ambassador; a very deep man, and great schemer of intrigues, accomplished in the art of troublemaking.
75:. This was the author's last play. It is rarely revived. Like the earlier plays of the trilogy it has been turned into operatic form, but it has not entered the general opera repertoire.
140:: most particularly they suppressed the Almavivas' aristocratic titles "Count" and "Countess". By 1796 Beaumarchais had returned to Paris and the play was finally presented at the
307:
and furious. As it is now established that LĂ©on is the
Countess's son but not the Count's, and Florestine is the Count's daughter but not the Countess's, there is demonstrably no
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in 1797 and again in 1799–1800. The work thereafter fell out of the general repertoire, but was revived successfully at the Comédie-Française in 1990.
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211:, maid and confidant of the Countess; wife of Figaro; excellent woman, devoted to her mistress and having left behind the illusions of youth.
187:, their son (actually, the son of the Countess and Chérubin, who died in battle); young man obsessed with freedom, like all ardent new souls.
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rescue of the Count and
Countess; and of their illegitimate children LĂ©on and Florestine, who are secretly in love with each other.
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held some doubts, and therefore has never officially disowned the boy or even brought up his suspicions to the Countess.
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to a libretto by Eugène Green based on the Beaumarchais play, received its world premiere at L'Opéra de Rouen.
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The characters of Figaro and his associates were so popular that other dramatists had written sequels to
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Figaro, on the other hand, has no intention of letting the villain get away with the Count's money.
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opportunistic publishers. They made some changes to comply with the prevailing orthodoxy of the
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360:, there is a subplot in which the ghost of Beaumarchais, as an entertainment for the ghost of
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figure who insinuates himself into the household for his own enrichment is BĂ©gearss. Like
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The original Tartuffe is brought down by the (offstage) intervention of the king as a
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Beaumarchais completed the play early in 1791. It was to have been staged by the
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364:(with whom he is in love), conjures up a performance of the play as an opera:
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The action takes place twenty years after the previous play in the trilogy,
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are rarely performed in the modern repertoire. The first proposal to turn
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The characters, as described by Beaumarchais's characterisations, are:
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the following year. In the preface to the first published edition of
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L'autre Tartuffe, ou La Mère coupable, drame moral en cinq actes
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Chérubin. The marriage ceremony is to take place that evening.
103:, Beaumarchais had declared his intention of writing a sequel.
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193:, ward of Count Almaviva; a young person full of compassion.
709:"Figaro in Changing Times: Beaumarchais's La Mère coupable"
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Illustration of Countess Almaviva by Émile Bayard (1876)
29:
copy of the first published edition of the play, 1793
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Florestine and getting hold of the Count's fortune.
181:, very melancholy, and with the piety of an angel.
175:, a Spanish lord with noble pride but not vanity.
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497:The Sentimental Theater of the French Revolution
1140: Opera
1102: Opera
653:Beaumarchais, Pierre Augustin Caron de (1794).
217:, the Count's notary; a precise and honest man.
164:Illustration of Bégearss by Émile Bayard (1876)
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342:(1966) was the first to be completed, and
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969:The Crazy Day or The Marriage of Figaro
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640:, Thierry PĂ©cou, accessed 15 June 2017
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581:"La mère coupable; opéra en 3 actes"
426:"Figaro | French literary character"
857:Adventures of the Barber of Seville
332:, but the project came to nothing.
13:
16:French play by Pierre Beaumarchais
14:
1238:
909:The Cat Above and the Mouse Below
693:
638:"Thierry PĂ©cou: L'amour coupable"
593:Wikström, Inger (December 2008).
1070:Fantasy on Themes from Mozart's
1002:Sull'aria...che soave zeffiretto
628:, US Opera, accessed 14 May 2013
583:, WorldCat, accessed 14 May 2013
452:, WorldCat, accessed 14 May 2013
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27:Bibliothèque nationale de France
1063: Related
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1:
659:(in French). Paris: Maradan.
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1207:Plays by Pierre Beaumarchais
675:Beaumarchais and the Theatre
484:, p. introductory page.
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672:Howarth, William D (2012).
232:
53:, is the third play of the
10:
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626:"The Ghosts of Versailles"
346:made an adaptation called
1227:Plays adapted into operas
1164:Figaro läßt sich scheiden
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500:. Routledge. p. 38.
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1118:The Ghosts of Versailles
888:(Woody Woodpecker, 1944)
878:Our Gang Follies of 1938
357:The Ghosts of Versailles
63:; its predecessors were
1172:The Abduction of Figaro
775:(Paisiello, 1782 opera)
772:Il barbiere di Siviglia
494:Cecilia Feilla (2016).
430:Encyclopedia Britannica
227:
97:Le Mariage de Fanchette
1052:The Marriage of Figaro
1044:The Marriage of Figaro
1028:The Marriage of Figaro
1009:The Marriage of Figaro
961:The Marriage of Figaro
944:The Marriage of Figaro
239:The Marriage of Figaro
165:
157:
101:The Marriage of Figaro
93:Le Mariage de Cherubin
89:The Marriage of Figaro
72:The Marriage of Figaro
43:
30:
1180:Figaro Gets a Divorce
912:(Tom and Jerry, 1964)
885:The Barber of Seville
849:Le Barbier de SĂ©ville
841:The Barber of Seville
833:The Barber of Seville
825:The Barber of Seville
806:The Barber of Seville
783:(Rossini, 1816 opera)
780:The Barber of Seville
755:The Barber of Seville
678:. London: Routledge.
595:Den Brottsliga Modern
348:Den Brottsliga Modern
328:into an opera was by
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85:The Barber of Seville
66:The Barber of Seville
24:
964:(Mozart, 1786 opera)
380:Notes and references
366:A Figaro for Antonia
1217:Plays set in France
745:Pierre Beaumarchais
472:Howarth, Chapter 15
61:Pierre Beaumarchais
1159:(Mercadante, 1835)
1121:(Corigliano, 1991)
896:(Bugs Bunny, 1950)
571:, pp. 87–100.
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25:Title page of the
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1093:The Guilty Mother
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893:Rabbit of Seville
799:Largo al factotum
747:'s Figaro Trilogy
569:Beaumarchais 1794
559:, pp. 62–86.
557:Beaumarchais 1794
547:, pp. 47–61.
545:Beaumarchais 1794
535:, pp. 22–46.
533:Beaumarchais 1794
521:Beaumarchais 1794
482:Beaumarchais 1794
424:Kathleen Kuiper.
326:The Guilty Mother
322:The Guilty Mother
179:Countess Almaviva
142:Comédie-Française
138:French Revolution
133:Théâtre du Marais
129:Comédie-Française
35:The Guilty Mother
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276:grief-stricken.
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1222:Sequel plays
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1011:discography
808:discography
450:"M-N Delon"
350:(1990). In
59:trilogy by
1212:1792 plays
1201:Categories
928:The Barber
868:Shorts and
409:References
191:Florestine
148:Characters
79:Background
48:The Other
870:animation
704:Gutenberg
613:871517153
435:26 August
265:Saint Leo
221:Guillaume
930:" (1993)
665:23643607
233:Synopsis
197:BĂ©gearss
108:Tartuffe
50:Tartuffe
1133:Related
1079:(Liszt)
920:Related
647:Sources
280:Act III
209:Suzanne
112:Molière
1072:Figaro
1055:(1960)
1047:(1949)
1039:(1929)
1036:Figaro
1031:(1920)
904:(1952)
860:(1954)
852:(1948)
844:(1947)
836:(1938)
828:(1904)
682:
663:
611:
601:
504:
315:Operas
289:Act IV
271:Act II
215:M. Fal
203:Figaro
56:Figaro
40:French
980:Music
953:Stage
791:Music
764:Stage
385:Notes
298:Act V
258:Act I
1074:and
1020:Film
817:Film
680:ISBN
661:OCLC
609:OCLC
599:ISBN
502:ISBN
437:2021
228:Plot
106:The
87:and
69:and
372:by
354:'s
336:'s
1203::
702:,
607:.
457:^
428:.
416:^
42::
1004:"
1000:"
997:"
993:"
990:"
986:"
926:"
801:"
797:"
737:e
730:t
723:v
688:.
667:.
615:.
510:.
439:.
123:.
38:(
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