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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. Considered one of the greatest operas ever written, [ 1 ] it is a cornerstone of the repertoire and appears consistently among the top ten in the ...
The story follows a traditional commedia dell'arte structure, with many characters seemingly based on famous stock characters. The plot involves a Spanish count, called simply The Count, although "Almaviva" appears as an additional name (whether it is a first name or a surname is not clear), who has fallen in love at first sight with a girl called Rosine.
Count Almaviva again appears at the doctor's house, this time disguised as Don Alonso, a priest and singing tutor who is substituting for the supposedly ailing Basilio. To gain Bartolo's trust, Don Alonso tells him he has intercepted a note from Lindoro to Rosina, and says that Lindoro is a servant of Count Almaviva who has dishonorable ...
The Count re-enacts finding Chérubin behind the door in Fanchette's room by lifting the dress covering Chérubin, accidentally uncovering Chérubin's hiding spot for the second time. The Count is afraid that Chérubin will reveal the earlier conversation in which he was propositioning Suzanne, and so decides to send him away at once as a soldier.
It can be seen that Mandini created the role of Count Almaviva twice: the Count appears as a character in two operas derived from the plays of Beaumarchais, The Barber of Seville (set by Paisiello, and later, more famously, by Rossini); and The Marriage of Figaro, set by Mozart. Remarkably, the Paisiello role is for a tenor, the Mozart role for ...
May 16—The 2025 Santa Fe Opera season features a trio of top 10 productions, blended with a more obscure piece, bookended by Richard Wagner. The opera will stage familiar favorites "La bohème ...
Count Almaviva: tenor: Countess Rosina: mezzo-soprano: Inez, her daughter: soprano: Cherubino, under the name of Figaro: contralto: Figaro, servant of the Count: bass: Susanna, wife of Figaro and housemaid of the Countess: soprano Torribio, under the name of Don Alvaro: tenor Plagio, young playwright: bass A Notary: Men and women vassals of the ...
Alone on stage, the Countess regrets in the recitative that her husband, Count Almaviva, who had wooed her energetically (see: Beaumarchais' The Barber of Seville) and loved her ardently, has become an indiscriminate, overbearing philanderer; [4] and that she must rely on assistance from her domestic staff in order to manipulate him. In the ...