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Susanna and Figaro, and Marcellina and Bartolo are now married. The Count receives the letter and sends the brooch back to Susanna, via Barbarina, who drops it. Figaro finds her scavenging for the pin and he's overcome with jealousy, believing Susanna is meeting the Count behind his back.

Susanna arrives, dressed up as the Countess. She sings a love song, which Figaro believes to be directed towards the Count. Following the wedding, Susanna and the Countess have swapped outfits to execute the final part of their plan.

They each try to seduce the other's husband. There's a woman in a wedding dress on stage, so it must be Susanna, right? That's what the Count thinks, at least, so he gives her a gold ring and sneaks off with her.

Little does he know: it's actually his wife in disguise. Meanwhile, 'the Countess', aka Susanna in someone else's dress, enters. Figaro isn't fooled by his bride's disguise, but plays along with the joke and starts to seduce her. Susanna falls for his trick and slaps him, but forgives him when he explains he recognised her voice immediately. The duo decide to see out the comedy together. Figaro loudly proclaims his love for the Countess, which angers the Count.

Bartolo, Basilio and Antonio arrive with torches and weapons, begging him to forgive Figaro. That work would be the opera Don Giovanni.

She does not like their new bedroom. Her objection confounds Figaro, for the room is conveniently close to the bedrooms of the Count and Countess whom they serve. But Susanna warns Figaro that it is all too convenient and close for the Count, who is plotting with her music master, Don Basilio, to seduce her. The Countess rings for her, and Susanna leaves. Bartolo enters with his housekeeper, Marcellina. Figaro had once promised to marry her, and Bartolo promises her that he will find a way to hold Figaro to his promise.

Bartolo would love to take revenge on Figaro for having earlier foiled his plan to marry Rosina now the Countess.

Bartolo leaves to put his scheme into effect. 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.

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 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 that indicates 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 red-handed.

Figaro leaves. Cherubino arrives, sent in by Figaro and eager to co-operate. After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring which would be necessary to make it an official document. 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 get the dress for Cherubino, taking his cloak with her. While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving.

Cherubino hides in the closet. The Count demands to be allowed into the room and the Countess reluctantly unlocks the door. The Count enters and hears a noise from the closet. He tries to open it, but it is locked. The Countess tells him it is only Susanna, trying on her wedding dress. At this moment, Susanna re-enters unobserved, quickly realizes what's going on, and hides behind a couch Trio: "Susanna, or via, sortite" — "Susanna, come out!

The Count shouts 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 former place in the closet, vowing to make the Count look foolish duet: "Aprite, presto, aprite" — "Open the door, quickly!

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 door is opened, they both find to their astonishment only Susanna Finale: "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 jealousy, the Count begs 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. Romantic Sad Sentimental. Sexy Trippy All Moods.

Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Genre Classical. Styles Miscellaneous Classical. Track Listing - Disc 1. Johann Sebastian Bach. Canon in D. Johann Pachelbel. Water Music Suite No.

George Frederick Handel. Henry Purcell. Antonio Vivaldi. Mi 26 composed by Remo Giazotto; not by Albinoni. Tomaso Albinoni. Minuet and Badinerie. Track Listing - Disc 2. Christoph Willibald Gluck. Sinfonia in G. Wolfgang Amadeus Mozart. The second part of the first theme begins with a long note followed by an arpeggio pattern notes of a chord sounding a fast succession. Other thematic fragments are then introduced as part of this first multi-theme group, and about halfway through the exposition, you will hear a contrasting second multi-theme group that can be identified by a more static melody, the sound of sudden, loud accents, and quick ornaments notes added to decorate or embellish the main melodic notes.

Can you hear that all the themes or theme fragments are mostly introduced quietly which adds to the feeling of intrigue and secrecy? The effervescent themes then bubble up throughout the overture creating a feeling of wit, anticipation, and buoyant good humour. Mozart originally scored this overture for: strings; two each of flutes, oboes, clarinets, bassoons, horns, trumpets; and timpani. In this arrangement for wind octet can you hear two each of oboes, clarinets, bassoons, and horns?

Can you distinguish the different instruments of the octet playing the different themes and rhythms of the overture? Can you hear the different instruments taking turns on various parts or calling back and forth to each other? Can you hear how the Presto tempo always seems to be moving forward at a breathless pace to set up the frenetic mood of the opera action to follow? How are dynamics the volume of the music , and expression musical elements that express certain feelings or dispositions used to convey the sense of intrigue and the qualities of comic opera?

Do you hear sudden accents, contrasts between loud and quiet, and long-drawn out crescendos that create an exciting sense of anticipation? While listening, "we feel the throbbing of our own life-blood, recognise the language of our own hearts, and are captivated by the irresistible charm of unfading beauty: it is art, genuine, immortal, making us free and happy. The verve and brightness of the music force themselves on the pleased attention throughout; and when all is over, so true is the picture, that, as Mr.

Streatfeild says, one comes away with the feeling of having assisted in an actual scene in real life. Such music can never grow old, though modern realism may demand something different. The opera was brought out on May 1, , in face of the most elaborate intrigues against it, and was received with the attention it deserved. Even at the rehearsal its success was most decided; when, according to Michael Kelly an Irish tenor who was in the cast under the name of "Signor Ochelly" , the enthusiasm of singers and orchestra rose to fever heat.

Kelly says: "I remember that at the first rehearsal of the full band Mozart was on the stage, with his crimson pelisse and his gold-banded cocked hat, giving the time of the music to the orchestra.

Jun 08,  · One of Wolfgang Amadeus Mozart's most well-known pieces, "The Marriage of Figaro," is performed here by an unknown symphonic orchestra. The picture is one of.

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