FIGARO, fe'ga'ro, Le Nozze di, opera buffa in four acts by Wolfgang Amadeus Mozart (libretto by Lorenzo eta Ponte after Beaumarchais' Wariage de Figaro"). first per formed at Vienna 1 May 1786. Mozart him self suggested the use of the satirical comedy that had made all Europe its home and the success of the opera was from the first assured. The complicated plot, laid in Spain, tells of the cross-currents of intrigue of Count Almaviva with Susanna, the countess' maid, who is be trothed to Figaro, the barber of Seville and of the countess with the page Cherubino. Figaro, becoming jealous of the count's actions, conspires with the countess and the other two to punish him for his love-making. Needless to say, he is pardoned and all ends merrily with the union of Figaro and Susanna. Mo zart's treatment of the story lifts it far above the cynical atmosphere of the original text into a purer ether where it is invested with the poetic and delicate charm that Mozart's genius alone could create. The situations are vivid and picturesque and the delineation of character full of subtle touches. Figaro, the countess, Cherubino and Susanna are creations which stand upon their own feet and breathe their own air, vitalized with the life and art perhaps of another day, but none the less reasonable and consistent. The music is one steady flow
of motion and melody, an irresistible combina tion of grace, serene beauty and musicianship. In spite of its age and the great intervening musical development, it has lost none of its freshness. In the first act, occurs Figaro's celebrated aria. "Non piu andai," the effect of which at the first general rehearsal, was elec trical, cast and orchestra calling out brava, Maestro! Viva! Viva! it grande Mozart.' In the second act are the countess' aria uPorgii amor," full of a gentle melancholy, Cherubino's ever sweet and fresh aVoi the sapete' and the finale upon which Mozart lavished his greatest gifts. The ((Dove sone aria of the countess, the exquisite letter duet between her and Susanna, also called the ((Zephyr Duet" and Figaro's stirring march number °Ecco Ia marchia)) of the third act and the "Deh vieni" for Susanna in the last act may also be singled out for special mention.