|Le Nozze di Figaro|
|Wolfgang Amadeus Mozart|
|Le Nozze di Figaro Synopsis|
|Le Nozze di Figaro Libretto|
|Next scene:||Porgi amor qualche ristoro|
LE NOZZE DI FIGARO / Die Hochzeit Der Figaro
Studio Production from the Hamburg State Opera, 1967
Sung in German
Non piu andrai farfallone
Count Almaviva: Tom Krause
Countess Almaviva: Arlene Saunders
Figaro: Heinz Blankenburg
Susanna: Edith Mathis
Cherubino: Elisabeth Steiner
Marcellina: Maria Von Ilosvay
Don Basilio: Kurt Marschner
Bartolo: Noel Mangin
Antonio: Karl Otto
Barbarina: Natalie Usselmann
Members of the Corps de Ballet of the Hamburg State Opera
Chorus of the Hamburg State Opera
The Philharmonic State Orchestra Hamburg
Hans Schmidt-Isserstedt, conductor
Joachim Hess, director
The Marriage of Figaro (Le nozze di Figaro) is set in Count Almaviva's castle in Seville in the late 18th Century. It is based on Beaumarchais's 1784 play La Folle Journée, ou Le Mariage de Figaro, a sequel to his earlier play, Le Barbier de Séville (The Barber of Seville), familiar to opera audiences through Rossini's great opera (Mozart's opera premiered in 1786; Rossini's premiered in 1816). In Le Barbier, Count Almaviva, with substantial help from Figaro, wooed and won the lovely Rosine away from her crusty old ward and would-be husband, Dr. Bartholo.
In The Marriage of Figaro, Beaumarchais continued their story. The Count has married Rosine but their marriage has gone sour because of his philandering. Figaro has quit barbering and is now the Count's major-domo. He is engaged to Suzanne, who is Countess Rosine's maid — and the Count's intended conquest. Old Bartholo is back to seek revenge on Figaro for taking Rosine away from him, with the help of the slimy music-master, Don Bazile. Adding to the fun are an amorous teenager, a scheming old maid, a drunken gardener, and a silly young girl. Much happens on a single "folle journée" — a crazy day.
Mozart's librettist, Lorenzo da Ponte, took this popular play, removed "political" content that would have offended the Viennese imperial censors (the French Revolution was only a few years away), and faithfully translated the rest into Italian — the customary opera language of the day. With Mozart's masterpiece of a score, the result was a witty yet profound tale of love, betrayal, and forgiveness.
Non più andrai, farfallone amoroso,
notte e giorno d'intorno girando;
delle belle turbando il riposo
Narcisetto, Adoncino d'amor.
Non più avrai questi bei pennacchini,
quel cappello leggero e galante,
quella chioma, quell'aria brillante,
quel vermiglio donnesco color.
Tra guerrieri, poffar Bacco!
Gran mustacchi, stretto sacco.
Schioppo in spalla, sciabla al fianco,
collo dritto, muso franco,
un gran casco, o un gran turbante,
molto onor, poco contante!
Ed invece del fandango,
una marcia per il fango.
Per montagne, per valloni,
con le nevi e i sollioni.
Al concerto di tromboni,
di bombarde, di cannoni,
che le palle in tutti i tuoni
all'orecchio fan fischiar.
Cherubino alla vittoria:
alla gloria militar.
Partono tutti alla militare.
No more, you amorous butterfly,
Will you go fluttering round by night and day,
Disturbing the peace of every maid,
You pocket Narcissus, you Adonis of love.
No more will you have those fine feathers,
That light and dashing cap,
Those curls, those airs and graces,
That roseate womanish colour.
You'll be among warriors, by Bacchus!
Long moustaches, knapsack tightly on,
Musket on your shoulder, sabre at your side,
Head erect and bold of visage,
A great helmet or a head?dress,
Lots of honour, little money,
And instead of the fandango,
Marching through the mud.
Over mountains, through valleys,
In snow and days of listless heat,
To the sound of blunderbusses,
Shells and cannons,
Whose shots make your ears sing
On every note.
Cherubino, on to victory,
On to military glory!
Exeunt omnes to the sound of a march.