1228:"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.
1011:" – "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!").
1002:" – "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").
794:– 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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1353:" – "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: "
263:. 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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1993:, 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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201:("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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1980:, 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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306:, 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
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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
405:; 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: "
293:" 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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1997:. 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:
985:" – "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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1937:"), 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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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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1837:– 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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3665:
3645:
3595:
3225:
2783:
2054:
742:
669:
3468:, first edition, Presso Giuseppe Nob. de Kurzbek (Ritter Joseph Edler von Kurzböck), 1786
8:
4446:
4277:
4212:
4205:
4080:
3785:
3462:, source evaluation (German only), links to online DME recordings, Digital Mozart Edition
3445:
3152:
2848:
played by a woodwind ensemble, and alluded to by Leporello as "rather well-known sounds".
1989:
1904:
500:
251:
The opera was the first of three collaborations between Mozart and Da Ponte, followed by
192:
103:
4811:
4199:
3104:
2432:, transl. and ed. by L. A. Sheppard, London: Routledge & Kegan Paul, 1929, pp. 129ff
917:; i.e. quick. The work is well known and often played independently as a concert piece.
164:
4271:
4183:
3725:
3484:
3459:
3164:
3144:
1952:
630:
2677:
4794:
4594:
4500:
4247:
4241:
4070:
3615:
3517:
3406:
3378:
3356:
3339:
3327:
3303:
3292:
3243:
3233:
3211:
3174:
3130:
3047:
3016:
2889:
2864:
2838:
This piece became so popular that Mozart himself, in the final act of his next opera
2803:
2788:
2763:
2727:
2394:
2205:
2101:, K. 609, No. 1. Mozart reused the music of the "Agnus Dei" of his earlier
988:
970:, and assures her, in comical lawyer-speak, that he can win the case for her (aria: "
944:
790:
602:
597:
447:
209:
4696:
3879:
3775:
3535:
2088:
2079:
1673:
1369:
Figaro's own bride Susanna. As the curtain drops, the two newlywed couples rejoice.
1012:
470:" – " To the desire of who adores you" (K. 577) in July 1789, and to replace "
259:
4345:
4253:
4133:
4060:
3474:
3455:
2423:
2039:
1899:
1474:
1264:
888:
504:. In modern performance practice, Cherubino and Marcellina are usually assigned to
349:, however ... did not really know on the first day where it stood. It heard many a
286:
191:
in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by
184:
151:
76:
4295:
4928:
4689:
4602:
4350:
4085:
3981:
3906:
3795:
3735:
3635:
3370:
3346:
3229:
2757:
2214:
2154:
2046:
1956:
1886:
1629:
1451:
953:
855:
391:
302:
124:
4235:
3160:
2879:
2144:
2034:
1946:
Mozart wrote two replacement arias for Susanna when the role was taken over by
1894:
1405:
1401:
1272:
1209:
863:
612:
240:
1854:
1016:
4902:
4737:
4381:
4307:
4301:
4227:
3852:
3675:
3500:
3317:
3262:
3197:
2978:
2130:
2098:
1984:
1101:
799:
721:
619:
580:
509:
505:
398:
413:
367:
But now, after several performances, one would be subscribing either to the
4313:
4289:
4283:
3765:
3189:
2957:
2840:
2248:
2093:
1882:
1339:
1089:
564:
442:
409:
294:
253:
4000:
2023:
Mozart cleverly uses the sound of two horns playing together to represent
297:. The first production was given eight further performances, all in 1786.
55:
Early 19th-century engraving depicting Count Almaviva and Susanna in act 3
3655:
3494:
2952:
2662:
2174:
1994:
1912:
1726:– Susanna, Countess, Marcellina, Basilio, Count, Antonio, Bartolo, Figaro
902:
380:
282:
188:
172:
1358:
3465:
2845:
1977:
1908:
533:
526:
491:
402:
2372:, translated by Elisabeth Abbott (New York: Da Capo Press, 1988), 150.
3843:
2998:
2740:
2730:". Many of Mozart's baritone and bass-baritone roles derive from the
2719:
2305:
2137:
in another aria sung by the Countess, "Porgi, amor". Beethoven wrote
2116:
1761:
1350:
429:
428:
The Emperor requested a special performance at his palace theatre in
205:
3705:
2382:
1874:
992:
Act 1: Cherubino hides behind Susanna's chair as the Count arrives.
949:
898:
544:
180:
50:
361:; and consequently opinions were divided at the end of the piece.
212:
asked 172 opera singers to vote for the best operas ever written.
4445:
3273:. Translated by Richard Salinger. Garden City: Dodd, Mead and Co.
2715:
2126:
2122:
2024:
1890:
1878:
1237:
A rich hall, with two thrones, prepared for the wedding ceremony.
1052:
906:
831:
781:
559:
2217:
quotes Mozart's opera, especially the overture, several times.
2160:
Fantaisie dramatique sur des Airs favoris, Bijoux à la Malibran
1305:
Deutsches Symphonie-Orchester Berlin, Fricsay 1960 (cast:
1104:
it with his signet ring (thus making it an official document).
307:
416:, but was prevented from doing so by the death of his patron,
3695:
2723:
2016:
1916:
1342:, Deutsches Symphonie-Orchester Berlin, Ferenc Fricsay (1960)
910:
774:
several years later, and recounts a single "day of madness" (
751:
684:
590:
482:" – "A joyous emotion", (K. 579), probably in mid-1790.
38:
2242:
2084:
1870:
2414:
Broder, Nathan (1951). "Essay on the Story of the Opera".
2077:) was later reused by Mozart in the overture to his opera
326:
therefore cause some posters to this effect to be printed.
3126:
From Handel to Hendrix: The Composer in the Public Sphere
1756:– Susanna, Marcellina, Don Curzio, Count, Bartolo, Figaro
3187:
2736:
1108:
get the dress for Cherubino, taking his cloak with her.
956:, Signor Contino" – "If you want to dance, Sir Count").
440:
to the commissioning of the next Mozart/Da Ponte opera,
2180:
Fantasy on Themes from Mozart's Figaro and Don Giovanni
231:
had already made a successful transition to opera in a
3565:
2278:
2276:
2143:, WoO 40, for violin and piano on Figaro's cavatina.
798:
Place: Count Almaviva's estate, Aguas-Frescas, three
2923:
2911:
2302:"Statistics for the five seasons 2009/10 to 2013/14"
2238:
926:
A partly furnished room, with a chair in the centre.
3106:
The Marriage of Figaro: A Comic Opera in Three Acts
3076:"Mozart's Bassoon Concerto, 'a little masterpiece'"
2502:
266:The Imperial Italian opera company paid Mozart 450
208:list of most frequently performed operas. In 2017,
3291:
3159:
2787:
2576:
2415:
2273:
2199:, which includes elements of Beaumarchais's third
2157:used the duettino "Crudel! perchè finora" in his
494:that appear in this table are those listed in the
3023:, p. 141; in a different translation, Peter Gay,
4900:
4842: Opera
4804: Opera
3207:The New Grove Dictionary of Music and Musicians
3073:
2387:Dümchen, Sybil; Nerlich, Michael, eds. (1994).
2355:. Cassell, London, 1977, p. 366 (in chapter on
1747:Hai già vinta la causa – Vedrò mentr'io sospiro
3345:
2705:
2558:From Kazinczy's 1828 autobiography; quoted in
2386:
2097:. Further, Mozart used it in 1791 in his Five
1951:exception was a series of performances at the
1828:Giunse alfin il momento – Deh vieni non tardar
4431:
4016:
3551:
3323:The Classical Style: Haydn, Mozart, Beethoven
2709:
2455:
2453:
2150:Fantasies on Themes from 'Le Nozze di Figaro'
2148:
2138:
2114:
2071:
2060:
2037:later used the same device in Ford's aria in
2028:
1938:
1932:
1926:
1006:
997:
980:
971:
937:
931:
657:doctor from Seville, also a practicing lawyer
477:
471:
465:
459:
4954:Operas based on works by Pierre Beaumarchais
4949:Works based on The Marriage of Figaro (play)
3196:; Harris, Ellen T.; Waldman, Gerald (2001).
2888:, pp. 239–240. University of Chicago Press.
2885:Divas and Scholars: Performing Italian Opera
2722:", while men's roles were listed as either "
2440:
2438:
2168:
2158:
2102:
1821:Tutto è disposto – Aprite un po' quegl'occhi
1762:E Susanna non vien – Dove sono i bei momenti
1100:Count was in such a hurry that he forgot to
775:
94:
4030:
3224:
2752:
2588:
1357:" – "On the breeze... What a gentle little
423:
4438:
4424:
4023:
4009:
3558:
3544:
2940:
2938:
2863:, p. 207. University of California Press.
2860:Understanding the Women of Mozart's Operas
2450:
2418:The Marriage of Figaro: Le Nozze di Figaro
1788:– Susanna, Countess, Count, Figaro; Chorus
49:
3513:International Music Score Library Project
3294:Opera & Ideas: From Mozart to Strauss
2435:
243:, was at first banned in Vienna: Emperor
198:La folle journée, ou le Mariage de Figaro
97:La folle journée, ou le Mariage de Figaro
3490:Italian/English side by side translation
3485:Italian/English side by side translation
3326:(2nd ed.). New York: W. W. Norton.
3289:
2975:(La Scala, 1932) – About this Recording"
2697:
2065:A musical phrase from the act 1 trio of
1853:
987:
4671:The Crazy Day or The Marriage of Figaro
4192:
3369:
3143:
2935:
2905:
2714:. Women's roles were listed as either "
2673:
2671:
2650:
2636:
2624:
2612:
2600:
2559:
2546:
2533:
2521:
2496:
2484:
2471:
2459:
2444:
780:) in the palace of Count Almaviva near
21:The Marriage of Figaro (disambiguation)
4901:
3826:Der Hölle Rache kocht in meinem Herzen
3524:Photos of 21st century productions of
3480:Full orchestral score (German/Italian)
3256:
3122:
3099:
3036:
2822:
2790:Beaumarchais in Seville: an intermezzo
2782:
2701:
2413:
2209:) and in which the main characters of
1962:
1378:The garden, with two pavilions. Night.
273:
220:
4841:
4803:
4419:
4004:
3539:
3316:
2929:
2917:
873:"Se a caso madama la notte ti chiama"
754:of peasants, villagers, and servants
730:the Count's gardener, Susanna's uncle
517:Roles, voice types, and premiere cast
150:
3298:. Cornell University Press. p.
3277:
2668:
2508:
2393:(in German). Tübingen: Gunter Narr.
2284:"The 20 Greatest Operas of All Time"
2049:said "In my opinion, each number in
1602:
1269:Deutsches Symphonie-Orchester Berlin
1214:Deutsches Symphonie-Orchester Berlin
860:Deutsches Symphonie-Orchester Berlin
714:Antonio's daughter, Susanna's cousin
4559:Adventures of the Barber of Seville
2332:"Mozart's 'The Marriage of Figaro'"
1645:Via resti servita, madama brillante
1622:Se a caso madama la notte ti chiama
982:Via resti servita, madama brillante
939:Se a caso madama la notte ti chiama
446:, premiered in Prague in 1787 (see
175:) in four acts composed in 1786 by
13:
3586:Die Schuldigkeit des ersten Gebots
3392:
3283:Antonio Salieri and Viennese Opera
3027:, Penguin, New York, 1999, p. 131.
2324:
2170:Fantasia über 'Le nozze di Figaro'
1849:
1674:Non più andrai, farfallone amoroso
1592:
1485:
1425:
1355:Sull'aria ... che soave zeffiretto
966:), agrees to represent Marcellina
375:if one were to maintain that Herr
14:
4970:
4914:Operas by Wolfgang Amadeus Mozart
4611:The Cat Above and the Mouse Below
3835:Dies Bildnis ist bezaubernd schön
3420:
2994:ends CBSO season in high spirits"
2798:: Yale University Press. p.
2786:(2006). "Ten – Leaving Madrid.".
2147:used music from the opera in his
2091:" in the second act of his opera
1500:"Pian pianin le andrò più presso"
432:, which took place in June 1786.
4772:Fantasy on Themes from Mozart's
4704:Sull'aria...che soave zeffiretto
4400:
4399:
4260:Maria Anna Thekla Mozart (Bäsle)
3898:O zittre nicht, mein lieber Sohn
2857:Brown-Montesano, Kristi (2007).
2241:
1652:Non so più cosa son, cosa faccio
1558:
1540:
1522:
1504:
1464:
1441:
1391:
1329:
1295:
1250:
1199:
1181:
1163:
1145:
1127:
1075:
1041:
877:
845:
820:
16:Opera by Wolfgang Amadeus Mozart
4765: Related
4377:Beethoven–Haydn–Mozart Memorial
3355:. Penn State University Press.
3270:The Opera Goer's Complete Guide
3166:Haydn: A Creative Life in Music
3149:Mozart: A Documentary Biography
3093:
3074:Phillip Huscher (5 June 2014).
3067:
3030:
3005:
2983:
2964:
2904:English translation taken from
2898:
2873:
2851:
2832:
2776:
2746:
2690:
2656:
2642:
2630:
2618:
2606:
2594:
2582:
2565:
2552:
2539:
2527:
2514:
2490:
2477:
2465:
2140:Variations on 'Se vuol ballare'
1835:Pian pianin le andrò più presso
1630:Se vuol ballare, signor Contino
458:who took the role. To replace "
3871:Madamina, il catalogo è questo
3285:. University of Chicago Press.
3171:University of California Press
2577:Geiringer & Geiringer 1982
2407:
2375:
2362:
2342:
2294:
2083:. Mozart also quotes Figaro's
1696:Voi che sapete che cosa è amor
1536:"Pace, pace, mio dolce tesoro"
1518:"Tutto è tranquillo e placido"
1291:"Riconosci in questo amplesso"
1195:"Voi Signor, che giusto siete"
1177:"Ah! signore ... Cosa è stato"
239:, with its frank treatment of
1:
3936:Die Entführung aus dem Serail
3716:Die Entführung aus dem Serail
2262:
2220:
1919:. The instrumentation of the
1814:In quegl'anni in cui val poco
1666:Giovani liete, fiori spargete
1141:"Signore, cos'è quel stupore"
289:, with a cast listed in the "
152:[leˈnɔttsediˈfiːɡaro]
4959:Libretti by Lorenzo Da Ponte
4286:(paternal great-grandfather)
4129:Concert arias, songs, canons
3889:O, wie will ich triumphieren
3402:Mozart: A Cultural Biography
3013:What to listen for in Mozart
2844:, transformed the aria into
1754:Riconosci in questo amplesso
1638:La vendetta, oh la vendetta!
1437:"Aprite un po' quegli occhi"
1071:"Voi che sapete cosa è amor"
641:Doctor Bartolo's housekeeper
225:Beaumarchais's earlier play
7:
4266:Franz Xaver Wolfgang Mozart
4248:Maria Anna Mozart (Nannerl)
3529:in Germany and Switzerland
3210:(2nd ed.). Macmillan.
3163:; Geiringer, Irene (1982).
2430:Memoirs of Lorenzo da Ponte
2370:Memoirs of Lorenzo Da Ponte
2234:
1800:L'ho perduta... me meschina
1615:Cinque... dieci... venti...
1123:"Esci omai, garzon malnato"
806:
760:
10:
4975:
3399:Gutman, Robert W. (2000).
3290:Robinson, Paul A. (1986).
3109:. Piccadilly: John Miller.
3080:Chicago Symphony Orchestra
2706:Singher & Singher 2003
2224:
2061:Other uses of the melodies
2030:Aprite un po' quegli occhi
1927:Frequently omitted numbers
1712:– Countess, Susanna, Count
1689:Porgi amor qualche ristoro
456:Adriana Ferrarese del Bene
437:Prager Oberpostamtszeitung
290:
18:
4866:Figaro läßt sich scheiden
4834:
4792:
4764:
4721:
4681:
4654:
4643:
4621:
4569:
4518:
4492:
4465:
4454:
4395:
4372:Mozart in popular culture
4359:
4323:
4226:
4184:Relationship with G minor
4119:
4038:
3973:
3917:
3807:
3574:
3235:Haydn: His Life and Music
2149:
2139:
2129:. Mozart also reused the
2115:
2029:
1939:
1933:
1724:Esci omai, garzon malnato
1661:– Susanna, Basilio, Count
1325:"Dove sono i bei momenti"
1007:
998:
981:
972:
938:
932:
750:
531:Premiere cast, 1 May 1786
478:
472:
466:
460:
109:
90:
82:
72:
60:
48:
37:
30:
4820:The Ghosts of Versailles
4590:(Woody Woodpecker, 1944)
4580:Our Gang Follies of 1938
4101:Appearance and character
3240:Indiana University Press
3123:Chanan, Michael (1999).
3046:. Penguin. p. 256.
2762:. Rizzoli. p. 137.
2520:9 May 1786, quoted from
2390:Stendhal – Text und Bild
2257:List of operas by Mozart
2196:The Ghosts of Versailles
2177:quoted the opera in his
2125:instead of the original
1659:Cosa sento! tosto andate
1554:"Gente, gente, all'armi"
1410:RIAS-Symphonie-Orchester
1372:
1261:Dietrich Fischer-Dieskau
1231:
1022:
920:
556:Countess Rosina Almaviva
485:
424:Other early performances
379:music is anything but a
64:
4919:Italian-language operas
4874:The Abduction of Figaro
4477:(Paisiello, 1782 opera)
4474:Il barbiere di Siviglia
4387:Mozart Monument, Vienna
4032:Wolfgang Amadeus Mozart
3568:Wolfgang Amadeus Mozart
3349:; Singher, Eta (2003).
2589:Landon & Jones 1988
2073:Così fan tutte le belle
1786:Ecco la marcia, andiamo
1460:"Deh vieni, non tardar"
1351:Dove sono i bei momenti
1246:"Crudel! perchè finora"
802:outside Seville, Spain.
473:Venite, inginocchiatevi
467:Al desio di chi t'adora
177:Wolfgang Amadeus Mozart
4909:The Marriage of Figaro
4754:The Marriage of Figaro
4746:The Marriage of Figaro
4730:The Marriage of Figaro
4711:The Marriage of Figaro
4663:The Marriage of Figaro
4646:The Marriage of Figaro
4280:(paternal grandfather)
3963:The Marriage of Figaro
3756:The Marriage of Figaro
3746:Der Schauspieldirektor
3626:Mitridate, re di Ponto
3526:The Marriage of Figaro
2990:"Belly laugh: Verdi's
2947:The Marriage of Figaro
2710:
2573:Marianne von Genzinger
2228:The Marriage of Figaro
2211:The Marriage of Figaro
2169:
2159:
2133:that begins his early
2113:) for the Countess's "
2103:
2072:
2067:The Marriage of Figaro
2008:
2004:The Marriage of Figaro
1982:
1934:Il capro e la capretta
1863:The Marriage of Figaro
1859:
1807:Il capro e la capretta
1779:Ricevete, o padroncina
1710:Susanna or via sortite
1703:Venite inginocchiatevi
1490:
1430:
993:
841:"Cinque, dieci, venti"
776:
768:continues the plot of
766:The Marriage of Figaro
407:
388:
328:
312:Count Orsini–Rosenberg
214:The Marriage of Figaro
187:. It premiered at the
141:
137:The Marriage of Figaro
95:
33:The Marriage of Figaro
4944:Operas based on plays
4882:Figaro Gets a Divorce
4614:(Tom and Jerry, 1964)
4587:The Barber of Seville
4551:Le Barbier de Séville
4543:The Barber of Seville
4535:The Barber of Seville
4527:The Barber of Seville
4508:The Barber of Seville
4485:(Rossini, 1816 opera)
4482:The Barber of Seville
4457:The Barber of Seville
3686:Thamos, King of Egypt
3606:Bastien und Bastienne
3226:Landon, H. C. Robbins
3173:. pp. xii, 403.
3043:Mozart and His Operas
2336:National Public Radio
2165:Johann Nepomuk Hummel
2163:for piano, Op. 72/4.
2069:(where Basilio sings
1999:
1969:
1903:are accompanied by a
1857:
1740:Crudel! perché finora
1647:– Susanna, Marcellina
1489:
1429:
1088:Performed in 1910 by
991:
963:The Barber of Seville
771:The Barber of Seville
396:
339:
323:
228:The Barber of Seville
4666:(Mozart, 1786 opera)
4179:Compositional method
4159:Works for solo piano
3817:Canzonetta sull'aria
3666:La finta giardiniera
3646:Il sogno di Scipione
3596:Apollo et Hyacinthus
2754:Angermüller, Rudolph
2353:The Operas of Mozart
1915:, often joined by a
1771:Canzonetta sull'aria
1719:– Susanna, Cherubino
1717:Aprite presto aprite
1598:Overture – Orchestra
1577:Cherubino runs off.
933:Cinque, dieci, venti
233:version by Paisiello
114:1 May 1786
19:For other uses, see
4934:Operas set in Spain
4447:Pierre Beaumarchais
4278:Johann Georg Mozart
4213:Neue Mozart-Ausgabe
4206:Alte Mozart-Ausgabe
3862:Là ci darem la mano
3786:La clemenza di Tito
3460:diplomatic editions
3446:Neue Mozart-Ausgabe
3153:Stanford University
3145:Deutsch, Otto Erich
2996:by Mark Pullinger,
2977:by Keith Anderson,
2756:(1 November 1988).
2193:In his 1991 opera,
2027:in the act 4 aria "
1990:The Classical Style
1963:Critical discussion
1905:keyboard instrument
1774:– Susanna, Countess
1216:, 1960 (cast:
999:Non so più cosa son
573:the countess's maid
519:
501:Neue Mozart-Ausgabe
390:The Hungarian poet
285:in Vienna on 1 May
274:Performance history
221:Composition history
193:Pierre Beaumarchais
169:commedia per musica
104:Pierre Beaumarchais
4861:(Mercadante, 1835)
4823:(Corigliano, 1991)
4598:(Bugs Bunny, 1950)
4272:Karl Thomas Mozart
3518:Complete recording
3508:Le nozze di Figaro
3430:Le nozze di Figaro
3405:. Harcourt Brace.
2949:– a musical guide"
2908:, pp. 273–274
2821:Synopsis based on
2737:Jander et al. 2001
2704:, p. 63; and
2687:II/5/16/1-2 (1973)
2679:Le nozze di Figaro
2357:Le Nozze di Figaro
1953:Metropolitan Opera
1865:is scored for two
1860:
1491:
1431:
1159:"Signore di fuori"
994:
976:" – "Vengeance").
515:
508:, and Figaro to a
418:Nikolaus Esterházy
335:Wiener Realzeitung
179:, with an Italian
143:Le nozze di Figaro
66:Le nozze di Figaro
31:Le nozze di Figaro
4896:
4895:
4892:
4891:
4877:(Schickele, 1984)
4830:
4829:
4795:The Guilty Mother
4788:
4787:
4639:
4638:
4595:Rabbit of Seville
4501:Largo al factotum
4449:'s Figaro Trilogy
4413:
4412:
4242:Anna Maria Mozart
4222:
4221:
3998:
3997:
3616:La finta semplice
3475:Complete libretto
3456:critical editions
3412:978-0-15-601171-6
3377:. HarperCollins.
3249:978-0-253-37265-9
3194:Forbes, Elizabeth
2809:978-0-300-12103-2
2400:978-3-8233-3990-8
2167:quoted it in his
1948:Adriana Ferrarese
1921:recitativi secchi
1900:recitativi secchi
1846:
1845:
1624:– Susanna, Figaro
1617:– Susanna, Figaro
1563:
1545:
1527:
1509:
1469:
1446:
1396:
1334:
1300:
1255:
1204:
1186:
1168:
1150:
1132:
1083:
1046:
945:droit du seigneur
887:Renato Capecchi,
882:
850:
825:
791:droit du seigneur
758:
757:
738:Francesco Bussani
665:Francesco Bussani
603:Francesco Benucci
498:published in the
448:Mozart and Prague
281:premiered at the
237:Mariage de Figaro
235:. Beaumarchais's
210:BBC News Magazine
133:
132:
4966:
4839:
4838:
4812:La mère coupable
4801:
4800:
4652:
4651:
4463:
4462:
4440:
4433:
4426:
4417:
4416:
4403:
4402:
4292:(brother-in-law)
4254:Constanze Mozart
4200:Köchel catalogue
4190:
4189:
4174:Violin concertos
4025:
4018:
4011:
4002:
4001:
3991:
3984:
3966:
3957:
3948:
3939:
3930:
3910:
3901:
3892:
3883:
3874:
3865:
3856:
3847:
3838:
3829:
3820:
3800:
3790:
3780:
3770:
3760:
3750:
3740:
3730:
3720:
3710:
3700:
3690:
3680:
3670:
3660:
3650:
3640:
3630:
3620:
3610:
3600:
3590:
3560:
3553:
3546:
3537:
3536:
3532:
3520:at Mozart Archiv
3511:: Scores at the
3471:
3442:
3416:
3388:
3371:Solomon, Maynard
3366:
3347:Singher, Martial
3337:
3313:
3297:
3286:
3274:
3266:
3253:
3230:Jones, David Wyn
3221:
3184:
3169:(3rd ed.).
3156:
3140:
3111:
3110:
3101:Bishop, Henry R.
3097:
3091:
3090:
3088:
3086:
3071:
3065:
3064:
3062:
3060:
3034:
3028:
3011:Harris, Robert,
3009:
3003:
2987:
2981:
2968:
2962:
2961:, 14 August 2012
2942:
2933:
2927:
2921:
2915:
2909:
2902:
2896:
2877:
2871:
2855:
2849:
2836:
2830:
2820:
2818:
2816:
2793:
2780:
2774:
2773:
2750:
2744:
2713:
2694:
2688:
2675:
2666:
2660:
2654:
2646:
2640:
2634:
2628:
2622:
2616:
2610:
2604:
2598:
2592:
2586:
2580:
2579:, pp. 90–92
2575:, is printed in
2569:
2563:
2556:
2550:
2543:
2537:
2531:
2525:
2518:
2512:
2506:
2500:
2494:
2488:
2481:
2475:
2469:
2463:
2457:
2448:
2442:
2433:
2427:
2426:. pp. v–vi.
2421:
2411:
2405:
2404:
2379:
2373:
2366:
2360:
2346:
2340:
2339:
2328:
2322:
2321:
2319:
2317:
2308:. Archived from
2298:
2292:
2291:
2280:
2251:
2246:
2245:
2206:La Mère coupable
2172:
2162:
2152:
2151:
2142:
2141:
2135:bassoon concerto
2120:
2119:
2106:
2075:
2032:
2031:
1942:
1941:
1936:
1935:
1742:– Susanna, Count
1603:
1565:
1564:
1547:
1546:
1529:
1528:
1511:
1510:
1488:
1475:Irmgard Seefried
1471:
1470:
1448:
1447:
1428:
1398:
1397:
1336:
1335:
1302:
1301:
1265:Irmgard Seefried
1257:
1256:
1206:
1205:
1188:
1187:
1170:
1169:
1152:
1151:
1134:
1133:
1085:
1084:
1048:
1047:
1010:
1009:
1001:
1000:
984:
983:
975:
974:
941:
940:
935:
934:
889:Irmgard Seefried
884:
883:
852:
851:
832:Musopen Symphony
827:
826:
779:
777:la folle journée
746:
673:
634:
520:
518:
514:
496:critical edition
481:
480:
479:Un moto di gioia
475:
474:
469:
468:
463:
462:
320:
185:Lorenzo Da Ponte
167: 492, is a
162:
161:
160:
154:
149:
121:
119:
100:
77:Lorenzo Da Ponte
53:
28:
27:
4974:
4973:
4969:
4968:
4967:
4965:
4964:
4963:
4899:
4898:
4897:
4888:
4826:
4815:(Milhaud, 1966)
4784:
4760:
4717:
4690:Se vuol ballare
4677:
4635:
4617:
4603:Magical Maestro
4571:
4565:
4514:
4488:
4450:
4444:
4414:
4409:
4391:
4355:
4336:Catholic Church
4319:
4316:(sister-in-law)
4310:(sister-in-law)
4304:(sister-in-law)
4298:(mother-in-law)
4218:
4188:
4154:Piano concertos
4115:
4034:
4029:
3999:
3994:
3987:
3982:Da Ponte operas
3980:
3969:
3960:
3954:The Magic Flute
3951:
3942:
3933:
3924:
3913:
3907:Se vuol ballare
3904:
3895:
3886:
3877:
3868:
3859:
3850:
3841:
3832:
3823:
3814:
3803:
3796:The Magic Flute
3793:
3783:
3773:
3763:
3753:
3743:
3736:Lo sposo deluso
3733:
3726:L'oca del Cairo
3723:
3713:
3703:
3693:
3683:
3673:
3663:
3653:
3643:
3636:Ascanio in Alba
3633:
3623:
3613:
3603:
3593:
3583:
3570:
3564:
3530:
3469:
3440:
3438:critical report
3423:
3413:
3398:
3395:
3393:Further reading
3385:
3363:
3334:
3310:
3260:
3250:
3218:
3181:
3161:Geiringer, Karl
3137:
3114:
3098:
3094:
3084:
3082:
3072:
3068:
3058:
3056:
3054:
3035:
3031:
3010:
3006:
2988:
2984:
2969:
2965:
2943:
2936:
2928:
2924:
2916:
2912:
2903:
2899:
2880:Gossett, Philip
2878:
2874:
2856:
2852:
2837:
2833:
2814:
2812:
2810:
2781:
2777:
2770:
2759:Mozart's Operas
2751:
2747:
2700:, p. 173;
2695:
2691:
2676:
2669:
2661:
2657:
2647:
2643:
2635:
2631:
2623:
2619:
2611:
2607:
2599:
2595:
2587:
2583:
2571:The letter, to
2570:
2566:
2557:
2553:
2544:
2540:
2532:
2528:
2519:
2515:
2507:
2503:
2495:
2491:
2482:
2478:
2470:
2466:
2458:
2451:
2443:
2436:
2412:
2408:
2401:
2380:
2376:
2367:
2363:
2347:
2343:
2338:. 13 July 2007.
2330:
2329:
2325:
2315:
2313:
2312:on 4 March 2016
2300:
2299:
2295:
2288:Classical Music
2282:
2281:
2274:
2265:
2247:
2240:
2237:
2232:
2223:
2215:John Corigliano
2188:Henry R. Bishop
2110:Coronation Mass
2063:
2047:Johannes Brahms
1965:
1957:Cecilia Bartoli
1929:
1852:
1850:Instrumentation
1847:
1595:
1593:Musical numbers
1570:
1569:
1568:
1567:
1566:
1559:
1556:
1550:
1549:
1548:
1541:
1538:
1532:
1531:
1530:
1523:
1520:
1514:
1513:
1512:
1505:
1502:
1496:
1492:
1486:
1481:
1480:
1479:
1478:
1477:
1472:
1465:
1462:
1456:
1455:
1454:
1452:Renato Capecchi
1449:
1442:
1439:
1432:
1426:
1417:
1416:
1415:
1414:
1413:
1399:
1392:
1389:
1375:
1347:
1346:
1345:
1344:
1343:
1337:
1330:
1327:
1314:
1313:
1312:
1311:
1310:
1303:
1296:
1293:
1280:
1279:
1278:
1277:
1276:
1258:
1251:
1248:
1234:
1225:
1224:
1223:
1222:
1221:
1207:
1200:
1197:
1191:
1190:
1189:
1182:
1179:
1173:
1172:
1171:
1164:
1161:
1155:
1154:
1153:
1146:
1143:
1137:
1136:
1135:
1128:
1125:
1119:
1097:
1096:
1095:
1094:
1093:
1086:
1076:
1073:
1060:
1059:
1058:
1057:
1056:
1049:
1042:
1039:
1025:
954:Se vuol ballare
923:
895:
894:
893:
892:
891:
885:
878:
875:
869:
868:
867:
856:Renato Capecchi
853:
846:
843:
837:
836:
835:
828:
821:
818:
809:
763:
740:
667:
628:
626:Dorotea Bussani
550:Stefano Mandini
536:: W. A. Mozart
532:
516:
488:
426:
392:Ferenc Kazinczy
314:
303:The Magic Flute
276:
223:
156:
155:
147:
129:
128:
122:
117:
115:
101:
68:
56:
32:
24:
17:
12:
11:
5:
4972:
4962:
4961:
4956:
4951:
4946:
4941:
4936:
4931:
4926:
4921:
4916:
4911:
4894:
4893:
4890:
4889:
4887:
4886:
4885:(Langer, 2016)
4878:
4870:
4862:
4854:
4853:(Carafa, 1820)
4845:
4843:
4836:
4832:
4831:
4828:
4827:
4825:
4824:
4816:
4807:
4805:
4798:
4790:
4789:
4786:
4785:
4783:
4782:
4768:
4766:
4762:
4761:
4759:
4758:
4750:
4742:
4734:
4725:
4723:
4719:
4718:
4716:
4715:
4707:
4700:
4697:Non più andrai
4693:
4685:
4683:
4679:
4678:
4676:
4675:
4674:(2004 musical)
4667:
4658:
4656:
4649:
4641:
4640:
4637:
4636:
4634:
4633:
4625:
4623:
4619:
4618:
4616:
4615:
4607:
4599:
4591:
4583:
4575:
4573:
4567:
4566:
4564:
4563:
4555:
4547:
4539:
4531:
4522:
4520:
4516:
4515:
4513:
4512:
4504:
4496:
4494:
4490:
4489:
4487:
4486:
4478:
4469:
4467:
4460:
4452:
4451:
4443:
4442:
4435:
4428:
4420:
4411:
4410:
4408:
4407:
4396:
4393:
4392:
4390:
4389:
4384:
4379:
4374:
4369:
4363:
4361:
4357:
4356:
4354:
4353:
4348:
4343:
4338:
4333:
4327:
4325:
4321:
4320:
4318:
4317:
4311:
4305:
4299:
4293:
4287:
4281:
4275:
4269:
4263:
4262:(first cousin)
4257:
4251:
4245:
4239:
4236:Leopold Mozart
4232:
4230:
4224:
4223:
4220:
4219:
4217:
4216:
4209:
4202:
4196:
4194:
4187:
4186:
4181:
4176:
4171:
4166:
4161:
4156:
4151:
4146:
4141:
4139:Horn concertos
4136:
4131:
4125:
4123:
4117:
4116:
4114:
4113:
4108:
4103:
4098:
4093:
4088:
4083:
4078:
4073:
4068:
4063:
4058:
4053:
4048:
4042:
4040:
4036:
4035:
4028:
4027:
4020:
4013:
4005:
3996:
3995:
3993:
3992:
3985:
3977:
3975:
3971:
3970:
3968:
3967:
3958:
3949:
3940:
3931:
3927:Così fan tutte
3921:
3919:
3915:
3914:
3912:
3911:
3902:
3893:
3884:
3880:Non più andrai
3875:
3866:
3857:
3848:
3839:
3830:
3821:
3811:
3809:
3805:
3804:
3802:
3801:
3791:
3781:
3776:Così fan tutte
3771:
3761:
3751:
3741:
3731:
3721:
3711:
3701:
3691:
3681:
3671:
3661:
3651:
3641:
3631:
3621:
3611:
3601:
3591:
3580:
3578:
3572:
3571:
3563:
3562:
3555:
3548:
3540:
3534:
3533:
3521:
3515:
3504:
3492:
3487:
3482:
3477:
3472:
3463:
3449:
3426:
3422:
3421:External links
3419:
3418:
3417:
3411:
3394:
3391:
3390:
3389:
3383:
3375:Mozart: A Life
3367:
3361:
3343:
3340:At archive.org
3332:
3318:Rosen, Charles
3314:
3308:
3287:
3275:
3254:
3248:
3222:
3216:
3188:Jander, Owen;
3185:
3179:
3157:
3141:
3135:
3113:
3112:
3092:
3066:
3052:
3029:
3025:Mozart: A Life
3004:
3002:, 14 July 2016
2982:
2963:
2934:
2932:, p. 183.
2922:
2920:, p. 182.
2910:
2897:
2872:
2850:
2831:
2808:
2775:
2768:
2745:
2689:
2667:
2655:
2641:
2629:
2617:
2605:
2593:
2581:
2564:
2551:
2538:
2526:
2513:
2511:, p. 331.
2501:
2489:
2476:
2464:
2449:
2434:
2406:
2399:
2374:
2361:
2341:
2323:
2293:
2271:
2264:
2261:
2260:
2259:
2253:
2252:
2236:
2233:
2225:Main article:
2222:
2219:
2145:Ferdinand Ries
2089:Non più andrai
2080:Così fan tutte
2062:
2059:
1964:
1961:
1940:In quegli anni
1928:
1925:
1851:
1848:
1844:
1843:
1839:
1838:
1831:
1824:
1817:
1810:
1803:
1790:
1789:
1782:
1775:
1766:
1757:
1750:
1743:
1729:
1728:
1727:
1720:
1713:
1706:
1699:
1692:
1679:
1678:
1669:
1662:
1655:
1648:
1641:
1634:
1625:
1618:
1601:
1600:
1599:
1594:
1591:
1557:
1552:
1551:
1539:
1534:
1533:
1521:
1516:
1515:
1503:
1498:
1497:
1494:
1493:
1484:
1483:
1482:
1473:
1463:
1458:
1457:
1450:
1440:
1435:
1434:
1433:
1424:
1423:
1422:
1406:Ferenc Fricsay
1402:Rosl Schwaiger
1400:
1390:
1387:"L'ho perduta"
1385:
1384:
1383:
1382:
1381:
1374:
1371:
1338:
1328:
1323:
1322:
1321:
1320:
1319:
1304:
1294:
1289:
1288:
1287:
1286:
1285:
1273:Ferenc Fricsay
1259:
1249:
1244:
1243:
1242:
1241:
1240:
1233:
1230:
1210:Ferenc Fricsay
1208:
1198:
1193:
1192:
1180:
1175:
1174:
1162:
1157:
1156:
1144:
1139:
1138:
1126:
1121:
1120:
1117:
1116:
1115:
1114:
1087:
1074:
1069:
1068:
1067:
1066:
1065:
1050:
1040:
1035:
1034:
1033:
1032:
1031:
1024:
1021:
1013:Non più andrai
922:
919:
886:
876:
871:
870:
864:Ferenc Fricsay
854:
844:
839:
838:
829:
819:
814:
813:
812:
811:
810:
808:
805:
804:
803:
762:
759:
756:
755:
748:
747:
735:
732:
725:
724:
719:
716:
709:
708:
703:
700:
693:
692:
687:
682:
675:
674:
662:
659:
652:
651:
646:
643:
636:
635:
623:
616:
606:
605:
600:
595:
584:
583:
578:
575:
568:
567:
562:
557:
553:
552:
547:
542:
541:Count Almaviva
538:
537:
529:
524:
506:mezzo-sopranos
487:
484:
425:
422:
333:The newspaper
275:
272:
260:Così fan tutte
241:class conflict
222:
219:
131:
130:
123:
113:
111:
107:
106:
92:
88:
87:
84:
80:
79:
74:
70:
69:
62:
58:
57:
54:
46:
45:
35:
34:
15:
9:
6:
4:
3:
2:
4971:
4960:
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4940:
4937:
4935:
4932:
4930:
4927:
4925:
4922:
4920:
4917:
4915:
4912:
4910:
4907:
4906:
4904:
4884:
4883:
4879:
4876:
4875:
4871:
4869:(Klebe, 1963)
4868:
4867:
4863:
4860:
4859:
4855:
4852:
4851:
4847:
4846:
4844:
4840:
4837:
4833:
4822:
4821:
4817:
4814:
4813:
4809:
4808:
4806:
4802:
4799:
4797:
4796:
4791:
4780:
4779:
4775:
4770:
4769:
4767:
4763:
4756:
4755:
4751:
4748:
4747:
4743:
4740:
4739:
4735:
4732:
4731:
4727:
4726:
4724:
4720:
4714:
4712:
4708:
4705:
4701:
4698:
4694:
4691:
4687:
4686:
4684:
4680:
4673:
4672:
4668:
4665:
4664:
4660:
4659:
4657:
4653:
4650:
4648:
4647:
4642:
4631:
4627:
4626:
4624:
4620:
4613:
4612:
4608:
4605:
4604:
4600:
4597:
4596:
4592:
4589:
4588:
4584:
4582:
4581:
4577:
4576:
4574:
4568:
4561:
4560:
4556:
4553:
4552:
4548:
4545:
4544:
4540:
4537:
4536:
4532:
4529:
4528:
4524:
4523:
4521:
4517:
4511:
4509:
4505:
4502:
4498:
4497:
4495:
4491:
4484:
4483:
4479:
4476:
4475:
4471:
4470:
4468:
4464:
4461:
4459:
4458:
4453:
4448:
4441:
4436:
4434:
4429:
4427:
4422:
4421:
4418:
4406:
4398:
4397:
4394:
4388:
4385:
4383:
4382:Mozart effect
4380:
4378:
4375:
4373:
4370:
4368:
4365:
4364:
4362:
4358:
4352:
4349:
4347:
4344:
4342:
4339:
4337:
4334:
4332:
4329:
4328:
4326:
4322:
4315:
4312:
4309:
4308:Aloysia Weber
4306:
4303:
4302:Josepha Weber
4300:
4297:
4296:Cäcilia Weber
4294:
4291:
4288:
4285:
4282:
4279:
4276:
4273:
4270:
4267:
4264:
4261:
4258:
4255:
4252:
4249:
4246:
4243:
4240:
4237:
4234:
4233:
4231:
4229:
4225:
4215:
4214:
4210:
4208:
4207:
4203:
4201:
4198:
4197:
4195:
4191:
4185:
4182:
4180:
4177:
4175:
4172:
4170:
4167:
4165:
4162:
4160:
4157:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4137:
4135:
4132:
4130:
4127:
4126:
4124:
4122:
4118:
4112:
4109:
4107:
4104:
4102:
4099:
4097:
4094:
4092:
4089:
4087:
4084:
4082:
4079:
4077:
4074:
4072:
4069:
4067:
4064:
4062:
4059:
4057:
4054:
4052:
4049:
4047:
4044:
4043:
4041:
4037:
4033:
4026:
4021:
4019:
4014:
4012:
4007:
4006:
4003:
3990:
3989:Derived works
3986:
3983:
3979:
3978:
3976:
3972:
3965:
3964:
3959:
3956:
3955:
3950:
3947:
3946:
3941:
3938:
3937:
3932:
3929:
3928:
3923:
3922:
3920:
3918:Discographies
3916:
3908:
3903:
3899:
3894:
3890:
3885:
3881:
3876:
3872:
3867:
3863:
3858:
3854:
3853:Il mio tesoro
3849:
3845:
3840:
3836:
3831:
3827:
3822:
3818:
3813:
3812:
3810:
3806:
3798:
3797:
3792:
3788:
3787:
3782:
3778:
3777:
3772:
3768:
3767:
3762:
3758:
3757:
3752:
3748:
3747:
3742:
3738:
3737:
3732:
3728:
3727:
3722:
3718:
3717:
3712:
3708:
3707:
3702:
3698:
3697:
3692:
3688:
3687:
3682:
3678:
3677:
3676:Il re pastore
3672:
3668:
3667:
3662:
3658:
3657:
3652:
3648:
3647:
3642:
3638:
3637:
3632:
3628:
3627:
3622:
3618:
3617:
3612:
3608:
3607:
3602:
3598:
3597:
3592:
3588:
3587:
3582:
3581:
3579:
3577:
3573:
3569:
3561:
3556:
3554:
3549:
3547:
3542:
3541:
3538:
3528:
3527:
3522:
3519:
3516:
3514:
3510:
3509:
3505:
3502:
3498:
3497:
3493:
3491:
3488:
3486:
3483:
3481:
3478:
3476:
3473:
3467:
3464:
3461:
3457:
3453:
3450:
3448:
3447:
3439:
3435:
3431:
3427:
3425:
3424:
3414:
3408:
3404:
3403:
3397:
3396:
3386:
3384:9780060190460
3380:
3376:
3372:
3368:
3364:
3362:0-271-02354-6
3358:
3354:
3353:
3348:
3344:
3341:
3335:
3333:0-393-31712-9
3329:
3325:
3324:
3319:
3315:
3311:
3309:0-8014-9428-1
3305:
3301:
3296:
3295:
3288:
3284:
3280:
3279:Rice, John A.
3276:
3272:
3271:
3264:
3259:
3255:
3251:
3245:
3241:
3237:
3236:
3231:
3227:
3223:
3219:
3217:0-333-60800-3
3213:
3209:
3208:
3203:
3199:
3198:Stanley Sadie
3195:
3191:
3190:Steane, J. B.
3186:
3182:
3180:0-520-04316-2
3176:
3172:
3168:
3167:
3162:
3158:
3154:
3150:
3146:
3142:
3138:
3136:1-85984-706-4
3132:
3128:
3127:
3121:
3120:
3119:
3118:
3108:
3107:
3102:
3096:
3081:
3077:
3070:
3055:
3053:9780141904054
3049:
3045:
3044:
3039:
3038:Cairns, David
3033:
3026:
3022:
3018:
3014:
3008:
3001:
3000:
2995:
2993:
2986:
2980:
2979:Naxos Records
2976:
2974:
2967:
2960:
2959:
2954:
2950:
2948:
2941:
2939:
2931:
2926:
2919:
2914:
2907:
2901:
2895:
2891:
2887:
2886:
2881:
2876:
2870:
2866:
2862:
2861:
2854:
2847:
2843:
2842:
2835:
2828:
2824:
2811:
2805:
2801:
2797:
2792:
2791:
2785:
2779:
2771:
2769:9780847809936
2765:
2761:
2760:
2755:
2749:
2743:in the score.
2742:
2738:
2733:
2729:
2725:
2721:
2717:
2712:
2707:
2703:
2699:
2698:Robinson 1986
2693:
2686:
2682:
2680:
2674:
2672:
2664:
2659:
2653:, p. 272
2652:
2645:
2639:, p. 285
2638:
2633:
2627:, p. 280
2626:
2621:
2615:, p. 281
2614:
2609:
2603:, p. 276
2602:
2597:
2591:, p. 174
2590:
2585:
2578:
2574:
2568:
2562:, p. 276
2561:
2555:
2549:, p. 278
2548:
2542:
2536:, p. 275
2535:
2530:
2524:, p. 272
2523:
2517:
2510:
2505:
2499:, p. 272
2498:
2493:
2487:, p. 272
2486:
2480:
2473:
2468:
2461:
2456:
2454:
2447:, p. 274
2446:
2441:
2439:
2431:
2425:
2420:
2419:
2410:
2402:
2396:
2392:
2391:
2384:
2378:
2371:
2365:
2358:
2354:
2350:
2349:Mann, William
2345:
2337:
2333:
2327:
2311:
2307:
2303:
2297:
2289:
2285:
2279:
2277:
2272:
2270:
2269:
2258:
2255:
2254:
2250:
2244:
2239:
2231:
2229:
2218:
2216:
2213:also appear,
2212:
2208:
2207:
2202:
2198:
2197:
2191:
2189:
2184:
2182:
2181:
2176:
2171:
2166:
2161:
2156:
2146:
2136:
2132:
2128:
2124:
2118:
2112:
2111:
2105:
2104:Krönungsmesse
2100:
2096:
2095:
2090:
2086:
2082:
2081:
2076:
2074:
2068:
2058:
2056:
2052:
2048:
2044:
2042:
2041:
2036:
2026:
2021:
2018:
2013:
2007:
2005:
1998:
1996:
1992:
1991:
1986:
1985:Charles Rosen
1981:
1979:
1974:
1968:
1960:
1958:
1955:in 1998 with
1954:
1949:
1944:
1924:
1922:
1918:
1914:
1910:
1906:
1902:
1901:
1896:
1892:
1888:
1884:
1880:
1876:
1872:
1868:
1864:
1858:Libretto 1786
1856:
1842:
1836:
1832:
1829:
1825:
1822:
1818:
1815:
1811:
1808:
1804:
1801:
1797:
1796:
1795:
1794:
1787:
1783:
1780:
1776:
1773:
1772:
1767:
1764:
1763:
1758:
1755:
1751:
1748:
1744:
1741:
1737:
1736:
1735:
1734:
1730:
1725:
1721:
1718:
1714:
1711:
1707:
1704:
1700:
1697:
1693:
1690:
1686:
1685:
1684:
1683:
1676:
1675:
1670:
1667:
1663:
1660:
1656:
1653:
1649:
1646:
1642:
1639:
1635:
1632:
1631:
1626:
1623:
1619:
1616:
1612:
1611:
1610:
1609:
1605:
1604:
1597:
1596:
1590:
1586:
1582:
1578:
1574:
1555:
1537:
1519:
1501:
1476:
1461:
1453:
1438:
1421:
1411:
1407:
1403:
1388:
1380:
1379:
1370:
1366:
1362:
1360:
1356:
1352:
1341:
1326:
1318:
1308:
1292:
1284:
1274:
1270:
1266:
1262:
1247:
1239:
1238:
1229:
1219:
1215:
1211:
1196:
1178:
1160:
1142:
1124:
1113:
1109:
1105:
1103:
1091:
1072:
1064:
1054:
1038:
1037:"Porgi, amor"
1030:
1029:
1020:
1018:
1015:" – "No more
1014:
1003:
990:
986:
977:
969:
965:
964:
957:
955:
951:
947:
946:
928:
927:
918:
916:
912:
908:
904:
900:
890:
874:
865:
861:
857:
842:
833:
830:Performed by
817:
801:
797:
796:
795:
793:
792:
787:
783:
778:
773:
772:
767:
753:
749:
744:
739:
736:
733:
731:
727:
726:
723:
722:Anna Gottlieb
720:
717:
715:
711:
710:
707:
706:Michael Kelly
704:
701:
699:
695:
694:
691:
690:Michael Kelly
688:
686:
683:
681:
680:music teacher
677:
676:
671:
666:
663:
660:
658:
654:
653:
650:
649:Maria Mandini
647:
644:
642:
638:
637:
632:
627:
624:
621:
620:breeches role
617:
615:
614:
608:
607:
604:
601:
599:
596:
594:
592:
586:
585:
582:
581:Nancy Storace
579:
576:
574:
570:
569:
566:
563:
561:
558:
555:
554:
551:
548:
546:
543:
540:
539:
535:
530:
528:
525:
522:
521:
513:
511:
510:bass-baritone
507:
503:
502:
497:
493:
483:
457:
451:
449:
445:
444:
438:
433:
431:
421:
419:
415:
411:
406:
404:
400:
395:
393:
387:
384:
382:
378:
374:
373:tastelessness
370:
365:
362:
360:
356:
352:
348:
343:
338:
336:
331:
327:
322:
318:
313:
309:
305:
304:
298:
296:
292:
288:
284:
280:
271:
269:
264:
262:
261:
256:
255:
249:
246:
242:
238:
234:
230:
229:
218:
215:
211:
207:
202:
200:
199:
194:
190:
186:
182:
178:
174:
170:
166:
159:
153:
145:
144:
139:
138:
126:
112:
108:
105:
99:
98:
93:
89:
85:
81:
78:
75:
71:
67:
63:
59:
52:
47:
44:
40:
36:
29:
26:
22:
4880:
4872:
4864:
4858:I due Figaro
4856:
4850:I due Figaro
4848:
4818:
4810:
4793:
4778:Don Giovanni
4777:
4773:
4752:
4744:
4736:
4728:
4710:
4669:
4662:
4661:
4644:
4609:
4601:
4593:
4585:
4578:
4557:
4549:
4541:
4533:
4525:
4507:
4480:
4472:
4455:
4367:Georg Nissen
4314:Sophie Weber
4290:Joseph Lange
4284:Franz Mozart
4211:
4204:
4106:Pet starling
3962:
3953:
3945:Don Giovanni
3944:
3935:
3926:
3794:
3784:
3774:
3766:Don Giovanni
3764:
3755:
3754:
3744:
3734:
3724:
3714:
3704:
3694:
3684:
3674:
3664:
3654:
3644:
3634:
3624:
3614:
3604:
3594:
3584:
3525:
3507:
3495:
3470:(in Italian)
3444:
3429:
3401:
3374:
3351:
3321:
3293:
3282:
3269:
3234:
3205:
3202:John Tyrrell
3165:
3148:
3125:
3116:
3115:
3105:
3095:
3083:. Retrieved
3069:
3057:. Retrieved
3042:
3032:
3024:
3012:
3007:
2997:
2991:
2985:
2972:
2966:
2958:The Guardian
2956:
2946:
2925:
2913:
2906:Deutsch 1965
2900:
2884:
2875:
2859:
2853:
2841:Don Giovanni
2839:
2834:
2813:. Retrieved
2789:
2784:Thomas, Hugh
2778:
2758:
2748:
2731:
2692:
2684:
2678:
2658:
2651:Deutsch 1965
2644:
2637:Deutsch 1965
2632:
2625:Deutsch 1965
2620:
2613:Deutsch 1965
2608:
2601:Deutsch 1965
2596:
2584:
2567:
2560:Deutsch 1965
2554:
2547:Deutsch 1965
2541:
2534:Deutsch 1965
2529:
2522:Deutsch 1965
2516:
2504:
2497:Deutsch 1965
2492:
2485:Deutsch 1965
2479:
2472:Deutsch 1965
2467:
2460:Solomon 1995
2445:Deutsch 1965
2429:
2417:
2409:
2389:
2377:
2369:
2364:
2356:
2352:
2344:
2335:
2326:
2314:. Retrieved
2310:the original
2296:
2287:
2267:
2266:
2249:Opera portal
2227:
2210:
2204:
2200:
2194:
2192:
2185:
2178:
2108:
2099:Contredanses
2094:Don Giovanni
2092:
2078:
2070:
2066:
2064:
2050:
2045:
2038:
2022:
2011:
2009:
2003:
2000:
1988:
1983:
1973:
1970:
1966:
1959:as Susanna.
1945:
1930:
1920:
1907:, usually a
1898:
1862:
1861:
1840:
1834:
1827:
1820:
1813:
1809:– Marcellina
1806:
1799:
1792:
1791:
1785:
1781:– Farm girls
1778:
1769:
1760:
1753:
1746:
1739:
1732:
1731:
1723:
1716:
1709:
1702:
1695:
1688:
1681:
1680:
1672:
1665:
1658:
1651:
1644:
1637:
1628:
1621:
1614:
1607:
1606:
1587:
1583:
1579:
1575:
1571:
1495:Act 4 finale
1418:
1377:
1376:
1367:
1363:
1348:
1340:Maria Stader
1315:
1281:
1236:
1235:
1226:
1118:Act 2 finale
1110:
1106:
1098:
1090:Nellie Melba
1061:
1051:Provided by
1027:
1026:
1017:gallivanting
1004:
995:
978:
967:
961:
958:
943:
929:
925:
924:
914:
896:
789:
785:
769:
765:
764:
729:
713:
697:
696:Don Curzio,
679:
656:
640:
639:Marcellina,
611:the Count's
610:
593:to the count
588:
572:
565:Luisa Laschi
499:
489:
476:" he wrote "
464:" he wrote "
452:
443:Don Giovanni
441:
436:
434:
427:
410:Joseph Haydn
408:
397:
389:
385:
376:
372:
368:
366:
363:
358:
354:
350:
346:
344:
340:
334:
332:
329:
324:
321:as follows:
301:
299:
295:Joseph Weigl
278:
277:
265:
258:
254:Don Giovanni
252:
250:
236:
226:
224:
213:
203:
196:
168:
142:
136:
135:
134:
65:
61:Native title
43:W. A. Mozart
25:
4939:1786 operas
4924:Opera buffa
4713:discography
4510:discography
4341:Freemasonry
4066:Nationality
4046:Biographies
3656:Lucio Silla
3531:(in German)
3441:(in German)
3261: [
3258:Melitz, Leo
2953:Tom Service
2825:, pp.
2823:Melitz 1921
2732:basso buffo
2702:Chanan 1999
2663:Dexter Edge
2230:discography
2175:Franz Liszt
2173:, Op. 124.
2153:, Op. 77.
1995:sonata form
1978:recitatives
1913:harpsichord
1802:– Barbarina
1698:– Cherubino
1654:– Cherubino
1307:discography
1218:discography
1008:Cosa sento!
973:La vendetta
913:marking is
741: [
712:Barbarina,
668: [
629: [
609:Cherubino,
492:voice types
381:masterpiece
315: [
283:Burgtheater
189:Burgtheater
183:written by
173:opera buffa
125:Burgtheater
4903:Categories
4630:The Barber
4570:Shorts and
4324:Influences
4169:Symphonies
4056:Grand tour
4051:Birthplace
3566:Operas by
3021:0743244044
2930:Rosen 1997
2918:Rosen 1997
2894:0226304876
2869:052093296X
2846:Tafelmusik
2545:Quoted in
2462:, p.
2316:11 January
2263:References
2221:Recordings
2012:recitativi
1909:fortepiano
1765:– Countess
1691:– Countess
901:is in the
527:Voice type
414:Eszterháza
403:fortepiano
148:pronounced
140:(Italian:
118:1786-05-01
73:Librettist
4572:animation
4331:Beethoven
4076:Scatology
4071:Residence
4039:Biography
3844:Dove sono
3129:. Verso.
3059:19 August
2999:Bachtrack
2815:27 August
2796:New Haven
2741:tessitura
2720:contralto
2509:Rice 1999
2428:(Quoting
2306:Operabase
2186:In 1819,
2155:Moscheles
2117:Dove sono
2055:Beethoven
2025:cuckoldry
1875:clarinets
1830:– Susanna
1816:– Basilio
1705:– Susanna
1640:– Bartolo
728:Antonio,
678:Basilio,
655:Bartolo,
618:soprano (
589:personal
571:Susanna,
534:Conductor
461:Deh vieni
430:Laxenburg
245:Joseph II
206:Operabase
4632:" (1993)
4405:Category
4250:(sister)
4244:(mother)
4238:(father)
4193:Editions
4081:Smallpox
3706:Idomeneo
3466:Libretto
3452:Libretto
3373:(1995).
3320:(1997).
3281:(1999).
3267:(1921).
3232:(1988).
3204:(eds.).
3147:(1965).
3103:(1819).
3040:(2007).
3015:, 2002,
2992:Falstaff
2973:Falstaff
2882:(2008).
2711:baritono
2424:Schirmer
2383:Stendhal
2235:See also
2183:S. 697.
2040:Falstaff
1879:bassoons
1823:– Figaro
1677:– Figaro
1668:– Chorus
1633:– Figaro
968:pro bono
950:Cavatina
899:overture
816:Overture
807:Overture
761:Synopsis
587:Figaro,
545:baritone
383:of art.
377:Mozart's
181:libretto
127:, Vienna
110:Premiere
91:Based on
83:Language
4835:Related
4781:(Liszt)
4622:Related
4360:Related
4351:Salieri
4164:Sonatas
3974:Related
3443:in the
3117:Sources
2971:"Verdi
2827:251–254
2716:soprano
2127:F major
2123:C major
1895:strings
1891:timpani
1887:clarini
1749:– Count
1053:Musopen
907:D major
800:leagues
782:Seville
718:soprano
645:soprano
577:soprano
560:soprano
399:Storace
308:encored
268:florins
116: (
86:Italian
4929:Operas
4774:Figaro
4757:(1960)
4749:(1949)
4741:(1929)
4738:Figaro
4733:(1920)
4606:(1952)
4562:(1954)
4554:(1948)
4546:(1947)
4538:(1938)
4530:(1904)
4256:(wife)
4228:Family
4149:Operas
4144:Masses
4134:Dances
4096:Prague
4091:Berlin
3799:(1791)
3789:(1791)
3779:(1790)
3769:(1787)
3759:(1786)
3749:(1786)
3739:(1784)
3729:(1783)
3719:(1782)
3709:(1781)
3699:(1780)
3689:(1779)
3679:(1775)
3669:(1775)
3659:(1772)
3649:(1772)
3639:(1771)
3629:(1770)
3619:(1769)
3609:(1768)
3599:(1767)
3589:(1767)
3576:Operas
3503:(1888)
3501:Ditson
3428:
3409:
3381:
3359:
3330:
3306:
3246:
3214:
3177:
3155:Press.
3133:
3085:8 June
3050:
3019:
2892:
2867:
2806:
2766:
2726:" or "
2718:" or "
2681:, p. 2
2397:
2203:play (
2201:Figaro
2121:", in
2051:Figaro
1897:; the
1893:, and
1885:, two
1881:, two
1877:, two
1873:, two
1869:, two
1867:flutes
1841:
1412:, 1960
1359:zephyr
1275:(1960)
1092:(3:24)
1055:(3:36)
915:presto
909:; the
866:(1960)
834:(4:00)
786:Barber
752:Chorus
371:or to
347:public
279:Figaro
4682:Music
4655:Stage
4493:Music
4466:Stage
4346:Haydn
4274:(son)
4268:(son)
4121:Music
4111:Death
4086:Italy
3808:Arias
3696:Zaide
3434:Score
3265:]
2724:tenor
2268:Notes
2131:motif
2035:Verdi
2017:tutti
1987:, in
1917:cello
1911:or a
1883:horns
1871:oboes
1793:Act 4
1733:Act 3
1682:Act 2
1608:Act 1
1373:Act 4
1232:Act 3
1023:Act 2
921:Act 1
911:tempo
745:]
702:tenor
698:judge
685:tenor
672:]
633:]
591:valet
523:Role
486:Roles
369:cabal
351:bravo
319:]
291:Roles
39:Opera
4776:and
4722:Film
4519:Film
4061:Name
3436:and
3407:ISBN
3379:ISBN
3357:ISBN
3328:ISBN
3304:ISBN
3244:ISBN
3212:ISBN
3175:ISBN
3131:ISBN
3087:2020
3061:2014
3048:ISBN
3017:ISBN
2890:ISBN
2865:ISBN
2817:2008
2804:ISBN
2764:ISBN
2728:bass
2696:See
2395:ISBN
2318:2015
2085:aria
1943:").
1833:28.
1826:27.
1819:26.
1812:25.
1805:24.
1798:23.
1784:22.
1777:21.
1768:20.
1759:19.
1752:18.
1745:17.
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1722:15.
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1708:13.
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1694:11.
1687:10.
1361:").
1102:seal
1019:").
897:The
734:bass
661:bass
613:page
598:bass
490:The
357:and
345:The
287:1786
257:and
3300:173
2951:by
2800:143
2685:NMA
2057:."
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1671:9.
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165:K.
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