French playwright, author of the play The Marriage of Figaro. Screen adaptations and productions

The work begins its narrative from the moment of preparation for the wedding in the castle of Count Almaviva. During it, everyone has fun, communicate, discuss pressing matters and problems. The culprit of this preparation is the best servant in the castle - Figaro, and his bride, the countess's servant - the lovely Susanna.

However, not everything is so joyful and radiant, since Count Almaviva is very cunning and crafty. He gives the young people a room that Figaro likes a lot, but Susanna doesn't like. She believes that the count wants to use the right of the first night, even though he canceled it long ago. But still, Figaro decides to stand up for the honor of his beloved and refuses this offer.

Lovers also face several other obstacles. Once upon a time, Figaro borrowed money from Marcelina, and foolishly gave a written consent that if he did not repay the debt, then he would marry her. But, having never returned the money, this debt is still his, and at any moment Marcelina may demand payment.

Suzanne is quite puzzled by the atmosphere. Her page Cherubino tells her about his feelings for the countess, begging her to put in a good word for him in front of her. But then their conversation is interrupted by the count, and Cherubino, seeing the count, hides behind a chair and becomes a witness to the conversation.

The count confesses his feelings to Susanna, trying to beg a date from her, but he has to follow Cherubino's example, and suddenly he overhears Basilio's story about Cherubino's love for the countess. He becomes furious, and was about to punish him, as Susanna hints to him that Cherubino witnessed their conversation. The Count relents, allows the wedding, and releases Cherubino, on the condition that he goes to a military regiment. After that, Figaro jokingly teaches Cherubino the basics of military art. This episode ends Mozart's "The Marriage of Figaro"

Picture or drawing Mozart - Marriage of Figaro

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Count Almaviva's valet, the barber Figaro, is to celebrate his marriage to the maid's maid, Countess Susanna, today. But Susanna's love is sought by the count, who is trying to prevent her marriage to Figaro. In addition, Figaro's marriage to Susanna is hindered by Dr. Bartolo and Count Marcellina's old housekeeper. Bartolo remembers how Figaro fooled him and helped the count marry Rosina, with whom the doctor himself was in love. Now Bartolo wants to take revenge on the count's valet. Figaro borrowed money from Marcellina and gave her a written commitment to either pay the debt or marry her. Bartolo (knowing that Figaro is not able to pay the required amount) expects that Figaro will be forced to marry Marcellina, and thus his marriage to Susanna will be upset, and Bartolo himself will be freed from the old gossip that has bothered him.

This whole network of intrigues confuses Suzanne. In addition, she must listen to the heartfelt outpourings of the young page Cherubino, in love with the countess, with Susanna, and in general with all the women of the castle. Only recently, the count found Cherubino alone with the young daughter of the gardener Antonio Barbarina, became furious and threatened to drive the page out of the castle. Cherubino asks for Susanna's intercession. But the appearance of the count interrupts this conversation, and Cherubino, in order not to catch the eyes of the count, hides behind an armchair. Involuntarily, Cherubino hears the count asking Susanna for a date. But the count is also forced to hide, since he does not want to meet with the singing teacher who has come here, the gossip Basilio. The Count hurries to hide behind the armchair where Cherubino has taken refuge; at the same time, a clever boy runs out from the other side and sits down in an armchair, and Susanna discreetly covers him with a veil.

Basilio tells Susanna about Cherubino's love for the Countess. Hearing this, the count jumps out of his hiding place and threatens to deal with the page. Having accidentally lifted the veil, he sees Cherubino in the chair. The boy heard him declare his love to Susanna! Meanwhile, Figaro brings peasants - young men and girls who are to take part in his wedding with Susanna. The Count has no choice but to give permission for the wedding. But he must send Cherubino far from here: the count appoints a page to the regiment for military service, Figaro cheerfully teases the future >.

Countess Rosina mourns over her husband's infidelity. Together with Susanna and Figaro, she intends to teach the Count a lesson. Figaro comes up with the following plan: Susanna will make an appointment with the Count, but instead of her, Cherubino, dressed in a woman’s dress, will come to him, who has not left for the regiment at all, but is hiding here in the castle. Susanna dresses up the page in her dress, but he, having heard the steps of the count, is forced to hide in the next room and lock the door with a key. It seems suspicious to the Count that the door is locked, and without getting an explanation from the Countess, he goes to get a tool to break the door. At this time, Cherubino runs out of the room and, to Susanna's horror, jumps out through the window. Susanna hides in the room where Cherubino has just been.

The count, being sure that Cherubino is hidden in the room, is terribly surprised when Susanna comes out instead of a page. The count asks both women for forgiveness for his rude behavior. Figaro appears demanding that the wedding feast begin. The Count wants to catch Figaro in his tricks, but the conversation is interrupted by the gardener Antonio: someone jumped out of the window and broke the pot of flowers. Figaro, in order to rescue Cherubino, says that it was he who jumped out of the window, and even pretending to begin to limp, as if injuring his leg.

Unfortunately, during the jump, Cherubino dropped some paper that Antonio had brought. The count begins to interrogate Figaro what kind of paper it is: if he jumped and dropped it, he must know what is written there. With the help of hints from Susanna and the Countess, Figaro guesses that this is a patent given by Cherubino to come to the regiment, but since they forgot to put a seal, Cherubino handed over this paper to Figaro in order to apply the seal.

Bartolo, Marcellina and Basilio suddenly appear and demand the trial of Figaro, who has not fulfilled his obligation.

They arrange a court that decides the case in favor of Marcelina. But it suddenly turns out that Figaro is the son of Marcelina and Bartolo, kidnapped in childhood by robbers. Everything is settled, and it is decided to play two weddings - Marcellina and Bartolo, Susanna and Figaro.

In the meantime, Susanna wrote a love note to the count, under the dictation of the countess, with a call to a meeting. A pin is pinned to this note, which the count, if he agrees, must return to Susanna. The Countess and Susanna want to exchange dresses, so that instead of Susanna, the Countess goes on a date with the Count.

In the evening, many events take place in the garden. Barbarina, tasked by the Count to return the pin to Susanna, has lost it in the grass and cannot find it. Figaro, having learned from Barbarina about the purpose of the pin, is amazed by the imaginary perfidy of Susanna and decides to track her and the count. Figaro sees the Countess in Susanna's dress approach the Count and, mistaking her for the real Susanna, overhears their love conversation. Meeting with Susanna, disguised as a countess, Figaro tells her that the count is alone with Susanna. Recognizing Susanna by her voice and wanting to take revenge on her for the suffering she caused him, Figaro begins to declare his love to her as a countess. Outraged, Susanna slaps him several times. Finally, the misunderstanding is cleared up and reconciliation takes place.

But the Count is still in error. Seeing his wife (that is, Suzanne, dressed in the dress of a countess) in the arms of Figaro, he becomes furious and calls! all in order to convict her of treason in public. But what is the count's surprise when a real countess comes out of the pavilion. Here misunderstandings come to an end, and everyone is happy. This is how this one ends.

V.A. Mozart opera "The Marriage of Figaro"

A sparkling brilliant comedy based on the play by the French playwright Pierre Augustin Beaumarchais Crazy Day, or the Wedding of Figaro. The libretto for the opera was significantly revised by the Italian poet and translator Lorenzo da Ponte. One of the most beautiful pearls of opera art, meeting the constant applause and enthusiasm of the public everywhere.

Summary operas Mozart "The Marriage of Figaro" and many interesting facts read about this work on our page.

Characters		Description
Figaro	baritone	count's valet, a clever rogue
Suzanne	soprano	servant and maid of the Countess, Figaro's fiancee
Count Almaviva	bass	Spanish nobleman served by Figaro and Susanna
Countess Rosina	soprano	Count Almaviva's wife
Cherubino	soprano	the count's page, the young lady's man
Marcelina	soprano	the housekeeper in the castle, Figaro's creditor
Bartolo	bass	doctor, friend and confidant of Marcelina, secretly in love with her
Basilio	tenor	music teacher, chief gossip of the castle
Curzio	tenor	judge who allowed Figaro's comic trial
Antonio	bass	Count Almaviva's gardener
Barbarina	soprano	gardener's daughter Antonio
servants, peasants

Summary of "The Marriage of Figaro"

Opera buffa ("buffa" - ital. "joke") illustrates the sitcom. Situations on the stage are rapidly changing, the plot is developing rapidly. Constant confusion and confusion associated with dressing up a man in a woman's dress - characteristics folk opera of that time as a genre. Many principles of the art of buffoonery can be seen in today's successors of this genre - film comedies: parodies, mobility of plot development, satirical orientation of everyday plot.

The opera has 4 acts in 2 acts. The whole plot develops in the Spanish castle of Count Almaviva. The central event of the plot is the upcoming marriage of the main characters, Figaro and Susanna. Both serve in the castle to the count and countess. According to ancient feudal custom, the master had the right to "the wedding night." Almaviva canceled this rule after his marriage. But for how long?

Jealous of his own wife, the count follows every pretty woman. This becomes the object of Figaro's ridicule and an occasion to teach him a lesson. In the course of numerous collisions, the witty servant Figaro several times defeats his master and puts him in “his place” - at the end of the action, the shamed count asks for forgiveness of his wife on her knees.

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Interesting Facts

Initially, in Beaumarchais's play, the events took place in France, but due to fears of "adding fuel to the fire" of pre-revolutionary sentiments, the action was transferred to Spain.
The most dangerous moments from it were cut out by the librettist or replaced. For example, Figaro's strong political monologues, in which he denounced the inherited nobility of the aristocracy, were completely removed. And instead of them, a number appeared that Beaumarchais did not have - an angry aria against unfaithful wives. Thus, the play lost its sharply political focus.
The overture of the opera is unique and does not correspond to the traditions of that time. The sonata form and self-sufficient sound make it possible to perform it as a separate orchestral work.
There are also the greatest composers among opera fans. Joseph Haydn who was a close friend Mozart , despite the big difference in age, did not tire of admiring the "Marriage of Figaro". A Johannes Brahms , 100 years after the premiere, wrote: “Each number in Figaro is a miracle! It is simply incomprehensible how anyone could create something so beautiful! No one can ever surpass this, not even Beethoven!”
The Marriage of Figaro became Mozart's pinnacle of fame during his lifetime.
Together with the librettist Lorenzo da Ponte, 2 more operas were written - "Don Juan" And " That's what everyone does».
In the USSR in theater production Lenkom's play "The Marriage of Figaro" was a resounding success, thanks to which it was filmed in 1974.
The role of Figaro at that time and for 18 theatrical seasons was played by the amazing Andrey Mironov. This role became his swan song"- in August 1987, at the end of the performance, he became ill, and after 2 days he died without regaining consciousness. Subsequently, the production was dedicated to him: each performance of The Marriage of Figaro ends with a minute in memory of the great actor.

The author wrote the opera commissioned by the emperor. However, the conditions in which the work took place left much to be desired: there was a catastrophic lack of money, he constantly borrowed from friends, hoping that the opera would become popular and bring income. Intrigues were constantly built by rivals, many understood that Mozart's musical thinking was fundamentally new approach, significantly different from the typical works of composers of that time, it was impossible to compete with Mozart in this regard.
Centuries later, all the musical performances that took place in Vienna in those years have sunk into oblivion, the names of composers who sought to hinder Mozart's success have been forgotten. Time has put everything in its place, truly brilliant music is still loved by listeners around the world.
In Russia, the opera was first staged at the Mariinsky Theater only in 1901. It is noteworthy that the Russian translation for her was made by Peter Ilyich Tchaikovsky in 1875. Since then, opera arias from The Marriage of Figaro have been known in Russia equally in the Italian version and in the Russian one.

Popular arias:

"Se vuol ballare" ("If the Count wants to dance") - Figaro's aria, Act I, scene II (listen)

"Non più andrai" ("The playful, curly-haired, in love boy") - Figaro's aria, Act I, scene VIII (listen)

"Porgi, amor, qualche ristoro" (God of love, give consolation) - Countess's aria, Act II, scene I (listen)

"Venite, inginocchiatevi" ("Come...") - Susanna's aria, Act II, scene II (listen)

"Voi, che sapete" (The heart is excited) - Cherubino's aria, Act II, scene II (listen)

The history of the "Marriage of Figaro"

To work on the opera Mozart started in December 1785. However, he considered the very idea of its creation at the beginning of 1782. The plot was based on the comedy by Beaumarchais, which was initially banned in Austria due to the content that was resonant at that time. At home in France, the production caused unrest, as it coincided with pre-revolutionary moods. The librettist Lorenzo da Ponte was able to obtain permission to continue working on the opera by convincing Emperor Joseph II that he had reduced the most dangerous moments, and the main plot would not be perceived as sharply by overlaying music.

The revolutionary nature of the idea of the play consisted in the previously unheard-of audacity to compare the personal qualities of a representative of the lower class and the feudal lord. In this opposition, Figaro's footmen, with the help of wit, resourcefulness and enterprise, several times embarrass his master, Count Almaviva. The inviolability of the master class was criticized for the first time.

The topic was close to Mozart - musicians as an estate in those days were not respected. It is known for certain that Mozart, who performed in the royal houses of Europe from early childhood, was distinguished by a rare feeling dignity. Without exaggerating the importance of his own person, but without belittling the divine talent, he keenly felt the class difference.

The musical dramaturgy of the opera was also revolutionary. In The Marriage of Figaro, music clearly played a dominant role - the characters of the characters and the sharpness of the intrigues were revealed exclusively by musical means. Here the composer excelled himself in honing the strokes, the slightest nuances and details. Previously, in musical performances, the leading place was given to the libretto, recitative was used to develop the plot, and the arias had a “decorative” purpose - in them, the artists demonstrated the possibilities of their voice. Mozart throughout the opera goes through the development of the plot, the music is organically woven into it, at the same time serving as an addition to the characters and receiving its own dramatic development.

Opera has always been the composer's favorite genre. Thanks to a rich set of expressive means - music, a combination of voice and instruments, theatrical opportunities and scenery - in the opera one can maximize the talent for composing music. Mozart is rightfully considered the greatest melodist. Having absorbed and reworked the features of folk German songwriting and Italian cantilena, his melody and harmony are distinguished by clarity, purity and extraordinary emotionality. Even in instrumental works, one can often recognize the signs of opera - in the opposition of characters / themes, in the development of musical fabric.

For Mozart himself, Le nozze di Figaro became his favorite opera. In life, he was a very observant person, the accuracy of his characteristics amazed everyone who communicated with him. Spontaneous and light, loving fun and cheerfulness, Wolfgang often made fun of others, making fun of himself, including. In his work on The Marriage of Figaro, his talent to subtly feel and convey the psychological moments of people's relationships was revealed in the most brilliant form.

Images in the opera

Wolfgang took an active part in the work on the libretto. He liked the graceful, poetic style of da Ponte, which easily fit the music. Reworking the play by Beaumarchais, the librettist made, at the direction of Mozart, changes in the characters' characters. Despite the frivolous nature of the whole action, which is usually defined as an everyday comedy or opera buffa, the topics of social inequality and psychological maturity characters make the viewer think about a lot, which is not typical of the entertainment genre.

So countess, which in the play looks rather superficial, in the opera receives expressive, full of languor and depth of the aria (“God of love, have mercy and listen”). Mozart ennobled the image of the countess, suffering from love for her husband, who followed every pretty woman.

Image count also experienced a transformation. The aria “Tell me why you tormented me so cruelly” added passion to the character. It was not as flat and silly as in the original version.

Looks incredibly alive and the image Suzanne beloved of Figaro. Her character was not given to Mozart as easily as it looks on stage - the part was rewritten many times. He sought simplicity and elegance of sound, while trying to retain the charm of Susanna.

But after the laborious work on the part of Susanna, work on the image of the page Cherubino brought real relaxation and pleasure. A singer of love, a young man, constantly in love with someone, captivating with sincerity and love of life.

A portrait Figaro contained many features of the composer himself. Mozart genuinely admired this character, his cunning, courage, how cleverly he shamed the count, winning the "intellectual battle", as they would say now. After all, he himself experienced something similar in Salzburg with the Archbishop of Coloredo.

The consignment Barberina was written for the young singer Anna Gottlieb. Lorenzo da Ponte reproached Mozart for giving such a beautiful melody (the famous aria of Barbarina “I dropped the brooch ...”) to a minor character. Mozart just laughed.

It is noteworthy that the overture in musical form was recorded 2 days before the premiere. She departed from the canon of writing overtures accepted at that time: there was no slow movement and main themes from the opera. It is an independent instrumental work that conveys general character upcoming musical narrative. Fast pace, life-affirming sound, passages, rustles, sudden wind chords create an atmosphere of mystery and intrigue.

More than 200 years later, the opera has not lost its relevance and freshness. Today it is one of the most repertory operas, and the number of its fans is constantly growing. But it was not always so.

First productions

Work on the opera lasted no more than 5 months. Already on May 1, 1786, the premiere took place. The show went on for more than one hour. The overcrowded Burgtheater applauded individual numbers, forcing the artists to repeat the arias they especially liked several times, until the emperor ordered that repetitions be banned more than 1 time.

Nevertheless, after the premiere, the production withstood 8 performances at most, after which it was forgotten by the Viennese for 2 years. At that time, the premieres of the operas by Salieri and Solera were going on with great success, a new dance came into fashion - waltz. Spoiled crowns quickly forgot yesterday's idols.

However, the premiere of Le nozze di Figaro, which took place in Prague in December of the same year, brought genuine recognition to the opera. Even a year later, upon his arrival in Prague, Wolfgang wrote in a letter to his father: “Here you can hear the motives from the Marriage of Figaro everywhere - in every street, from every street establishment, the townspeople just whistle melodies while doing some business.”

In Vienna, the performance was resumed after 2 years at the initiative of Antonio Salieri. He also directed the production. Contrary to popular belief, Salieri great respect belonged to Mozart and believed that his immortal music should sound on the best theatrical stages.

Music from the opera "The Marriage of Figaro" by V.A. Mozart in cinema

Such expressive music is loved by cinema - from historical films to ultra-modern action films and the Action genre. Both separate melodies and motives sound, and private rooms in studio recording.

That's far from full list Movies where you can hear it:

Most often it sounds Overture, for example, in the spectacular film "Mission: Impossible: Rogue Nation" (2015) with Tom Cruise, the beautiful melodrama "Milk and Money" (1996), "Big Medicine" (1989), "House" (2008), "The Ipcress File" ( 1965), "The Last Hero" (1993), "Swap Places" (1983), "Wonders of Science" (1985);

Duet Susanna and the Countess "What a wonderful Zephyr (breeze)":

The Shawshank Redemption (1994) (nominated for an Oscar), The Man Who Wasn't There (2001);

Cavatina Barbarina"Dropped, lost ...":

"Accompanist" (1992);

Aria Figaro"The boy is frisky, curly, in love":

Oscar-winning Amadeus by Milos Forman (1984) (8 awards, 32 awards and 13 nominations), Hopscotch (1980), Mister Magu (1997);

Overture and aria:

Runaway Bride (1999) with the gorgeous Julia Roberts;

Aria"You who know what love is":

"I Dreamed of Africa" (2000), "Sparks from the Eyes" (1987), "The Nun's Story" (1959) with Audrey Hepburn, "A Soldier's Daughter Never Cries" (1998);

Recitative and aria“How the night and my secrets are connected”, “In the desire of the one who adores” (Rondo):

"In active search" (2016).

Opera performances today Wolfgang Amadeus Mozart The Marriage of Figaro attracts great attention from art lovers. Opera artists dream of performing parts in this brilliant work. The opera has stood the test of time and is recognized as a masterpiece for all time.

V.A. Mozart "The Marriage of Figaro"

The plot of the work revolves around the protagonist Figaro, a young, energetic, cheerful, purposeful young man, an employee of Count Almaviva. But just at this moment, the count is disappointed in him, since his closest associate decided to marry the countess's maid, a beautiful girl named Susanna. The fact is that the count wants to return the old law, the right of the master to the wedding night with the bride. But the maid is against this decree. Figaro is shocked by the impudence of the count and promises his beloved to outwit the scoundrel.

But not only the count is trying to prevent the marriage of Susanna and Figaro, but also Dr. Bartolo and the housekeeper Marcellina. The doctor remembers well the case when Figaro helped the count and the latter married the charming countess Rosini, with whom Bartolo was in love. In the past, having financial problems, Figaro borrowed money from the count's housekeeper and, in case of non-payment, promised in writing to marry her. Marcelina has long been in love with the young man and now decides to seize the moment and sue Figaro for non-payment of the debt. But Bartolo wants to marry Marcelina, because they are connected by a child who was kidnapped a long time ago by gypsies.

The count was madly in love with his wife, but soon became cold towards her. He constantly flirted with other women. Nevertheless, the Countess has always been in the center of male attention. Almaviva was jealous of her other men.

The young page Cherubino is courting the countess openly. He is her godson. Naturally, the count does not like this show, and he wants to send the boy back to his parents.

Cherubino comes to Susanna to pour out his soul, at this moment Almaviva knocks at the door. The young man quickly hides behind a chair. The Count offers the maid a bribe for the first night. But she did not have time to answer, the musician Basil came. Almaviva hides behind a chair. The musician spreads rumors that the Countess is secretly meeting with Cherubino. The count in a rage comes out from under the chair and sees the page. Now he is determined to send the young man home.

At this moment, out of nowhere, Figaro appears with the count's subordinates, they praise their master and ask him to cancel the law on the master's right to the wedding night with the bride. Almaviva understood Figaro's cunning plan, but could not do anything at that moment. Cherubino is upset that he can no longer see Rosini. Figaro advises the young man to make a false departure and then return to the castle.

Figaro came up with another performance for his master. The count receives news that his wife has a secret admirer, and they should meet.

The young man asks Susanna to make an appointment with the count, but it is not she who will go to this meeting, but a page in disguise. Almaviva goes hunting. The maid and the countess seize the moment and change Cherubino's clothes. But unexpectedly, the count comes from hunting. The page runs through the window.

Marceline learns that Figaro is her son, who was kidnapped by gypsies many years ago.

The Countess asks Susanna to make an appointment with the Count. Only instead of her, Rosini herself will go on a date. Figaro is unaware of this plan. He hides in the bushes in the place appointed by the countess and finds his beloved there in the clothes of Rosini. The count from a distance sees Figaro and his wife. Approaches and finds the maid and his enemy laughing. Then the Countess, dressed as a maid, approaches. The Count is exposed. He asks for forgiveness from the Countess for a long time.

The play teaches its reader that deceit comes out sooner or later. It is worth remembering this saying: "You cannot build happiness on someone else's grief."

French playwright, author of the play The Marriage of Figaro. Screen adaptations and productions

Picture or drawing Mozart - Marriage of Figaro

Other retellings and reviews for the reader's diary

Picture or drawing by Beaumarchais - The Marriage of Figaro

Other retellings and reviews for the reader's diary

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"The Marriage of Figaro"

"A Crazy Day, or The Marriage of Figaro" summary

Picture or drawing Mozart - Marriage of Figaro

Other retellings and reviews for the reader's diary

Picture or drawing by Beaumarchais - The Marriage of Figaro

Other retellings and reviews for the reader's diary

Pierre Augustin Caron de Beaumarchais

"The Marriage of Figaro"

"A Crazy Day, or The Marriage of Figaro" summary

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