Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Act IV} [With score]

Composer: Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791)
Libretto: Lorenzo da Ponte
Conductor: René Jacobs
Performers: Simon Keenlyside (Il Conte), Véronique Gens (La Contessa) Patrizia Ciofi (Susanna), Lorenzo Regazzo (Figaro), Angelika Kirchschlager (Cherubino), Marie McLaughlin (Marcellina), Kobie van Rensburg (Basilio & Don Curzio), Antonio Abete (Bartolo & Antonio), Nuria Rial (Barbarina), Elisabeth Rapp & Yeree Suh (Due Ragazze)
Choir: Collegium Vocale Gent
Orchestra: Concerto Köln
Le nozze di Figaro (The Marriage of Figaro), K. 492, opera buffa in 4 acts, written in 1786 {Act 4}
Act IV
00:03 - XXIII. Cavatina: "L'ho perduta... me meschina!"
04:29 - XXIV. Aria: “Il capro e la capretta”
10:15 - XXV. Aria: “In quegl'anni in cui val poco”
14:02 - XXVI. Recitativo ed Aria: "Tutto è disposto"
15:34 - "Aprite un po' quegli occhi"
19:25 - XXVII. Recitativo ed Aria: “Giunse alfin il momento”
20:42 - "Deh vieni, non tardar"
24:27 - XXVIII. Finale: "Pian pianin, le andrò"
27:26 - "Partito è alfin l'audace"
30:09 - "Tutto è tranquillo e placido"
30:42 - "Ehi, Figaro tacete!"
33:45 - "Pace, pace, mio dolce tesoro"
35:27 - "Gente, gente"
37:01 - "Contessa, perdono"
39:22 - "Questo giorno di tormenti"
Lorenzo da Ponte wrote the libretto for Mozart's Figaro after falling out with Antonio Salieri, who, as imperial court composer, had obtained the position of court poet for da Ponte. At the time of the opera's composition and first performances, there was a climate of antagonism among factions of Italian musicians and poets living in Vienna, among whom was counted Salieri. Although the efforts of the anti-Mozart Italian clique did not succeed in having Mozart's Figaro banned from the stage, the opera did receive fewer than ten performances in Vienna immediately after its première at the Burgtheater on May 1, 1786. Figaro would have tremendous success in Prague, however, before spreading to other parts of Europe and becoming a classic of the opera buffa repertory. So began the fortuitous Mozart/da Ponte relationship, from which would come two further masterworks, Don Giovanni (1787) and Così fan tutte (1789-1790).
Mozart admired Pierre Auguste Caron de Beaumarchais' politically radical play Le mariage de Figaro (1781), the second play in what would become a trilogy based on the autobiographical character Figaro. Beaumarchais' Le barbier de Séville had been performed in 1775 and the third play of the trilogy, La mère coupable, would be premièred in 1793. In his Figaro plays, Beaumarchais, who himself was a participant in the Revolution, working towards anti-aristocratic revolutionary ideas, sharply spoofs pre-Revolution French society.
Mozart's music for Figaro consists of conventional dry and accompanied recitative, aria, and ensemble pieces. The overture, despite having no development section, is essentially in sonata form. Mozart musically conveys the range of Figaro's perturbation in his Act One cavatina, "Se vuol ballare," by whimsically changing the character of his music to correspond with Figaro's machinations. Mozart also imbues Figaro's rondo-form aria, "Non più andrai, farfallone amoroso," with colorful musical depictions of Cherubino's forthcoming military service through dotted rhythms and trumpet arpeggio fanfares. The Countess' cavatina, "Porgi amor," conveys the character's elevated social status through its graceful melodic language. The duet ("Aprite, presto, aprite") between Susanna and Cherubino in Act Two bristles expectantly with its moto perpetuo string writing and nervous, patter vocal declamation. In the Count's and Susanna's Act Three duet ("Crudel! Perchè finora"), the minor mode conveys the Count's initial grief and a shift to major mode, after Susanna agrees to come to the garden, confirms a sense of momentary resolution. Later, in the Count's accompanied recitative ("Hai già vinta la causa!"), the orchestra adds an extra emphasis to his verbal expression of anger and agitation through impetuous dotted rhythms and string tremolos. Through furiously rapid-scale passages and trills, the orchestra maintains this angry intensity in the Count's vengeance aria ("Vedrò mentr'io sospiro"). Barbaina's Act Four cavatina, "L'ho perduta...me meschina!" introduces a minor mode melody of classic Mozartean pathos. The finale of Act Four brings the principal characters to beg the Count's forgiveness and the music swells from a pious hymn-like ensemble to a triumphant fanfare-laden exultation.
[allmusic.com]

[@_Athanos]

36:38 this is beyond perfect, very short but how the forms morph into each other, this is so fluid I just love it

[@therealrealludwigvanbeethoven]

It's absolutely divine.

[@canaldokevinho3476]

37:03-Figaro Finale (my favorite part with the all opera).

[@moderato1985]

00:03 - 4 д. Каватина Барбарини (lamento).
15:34 - 4 д. Арія Фігаро.
20:42 - 4 д. Арія Сюзанни.

[@HeathenGeek]

00:05 SCENA I
01:38 SCENA II
02:59 SCENA III
03:54 SCENA IV
04:29 No 24 Aria
08:06 SCENA V
08:57 SCENA VI
09:40 SCENA VII
10:17 No 25 Aria
14:03 SCENA VIII No 26 Recitativo ed Aria
18:21 SCENA IX
18:43 SCENA X
19:20 No 27 Recitativo ed Aria
23:53 SCENA XI
24:28 Finale
35:27 SCENA ULTIMA

[@davemiller7633]

❤

[@philipcai9499]

nice

[@Protosini]

Figarowo

[@marcelcatalan9644]

Un seul mot pou qualifier le tout : délicatesse . le sens des nuances est précieux ; la multiplicité des clefs rend la lecture un peu complexe : une seule chose pour garder le fil : battre la mesure. La musique et l'interprétation sont angéliques.

[@anthonyehrenzweig1635]

Figaro is a bass not a baritone; you cant hear Figaro at all especially in the choruses.

[@Aaron-hq4bu]

Does anyone else hear similarities to Schubert's Fantasy in F minor in the first piece?

[@brianr.3085]

Yes, and Schubert was exposed to Mozart's operas while at the Stadtkonvikt in Vienna as a young musician, so I don't think it's mere coincidence. One of Schubert's earliest string quartets also uses the opening theme from the overture of The Marriage of Figaro.

[@cantab345]

Yes.

[@jasperkicki7091]

@@brianr.3085 which quartet?

[@brianr.3085]

@@jasperkicki7091 Sorry, I misremembered. It is actually a string quartet fragment by Schubert(D.3) which Schubert later rewrote as a piano piece(D.29). The theme is the same as the one where the woodwinds first enter in the Figaro overture.

[@656520]

I was thinking the same, same key, similar harmony, similar melodic shape.

[@user-ln7jj6ij8j]

24:30

[@Dylonely42]

24:27

[@Dylonely42]

4:29

[@newworld6422]

432hz, for my studies

[@Dylonely42]

39:22

[@Dylonely42]

37:00

[@creemi9584]

24:30