|Le Nozze di Figaro|
|Wolfgang Amadeus Mozart|
|Le Nozze di Figaro Synopsis|
|Le Nozze di Figaro Libretto|
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LE NOZZE DI FIGARO / Die Hochzeit Der Figaro
Studio Production from the Hamburg State Opera, 1967
Sung in German
Se vuol ballare - Via resti servita - Non so più cosa son, cosa faccio - Cosa Sento - Giovani liete, fiori spargete
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.
Bravo,signor padrone! Ora incomincio
a capir il mistero... e a veder schietto
tutto il vostro progetto: a Londra è vero?
Voi ministro, io corriero, e la Susanna ...
Non sarà, non sarà. Figaro il dice.
No. 3 - Cavatina
Se vuol ballare
Se vuol venire
nella mia scuola
Saprò... ma piano,
meglio ogni arcano
di qua pungendo,
di là scherzando,
tutte le macchine
Se vuol ballare
feverishly pacing up and down the room, rubbing his hands
Well done, my noble master! Now I begin
To understand the secret ... and to see
Your whole scheme clearly: to London,
Isn't it, you go as minister, I as courier,
And Susanna ... confidential attachée ...
It shall not be: Figaro has said it.
If, my dear Count,
You feel like dancing,
Who'll call the tune.
If you'lI come
To my school,
I'll teach you
How to caper.
I'll know how... but wait,
I can uncover
His secret design
More easily by dissembling.
All your plots