Your video is absolutely a gem. Seriously I can never get enough of this opera. Yes please do the ensembles especially "Riconosci in Questo Amplesso", cracks me up every time also brings tears of happiness as well. Is Figaro a comedy? I think it shows Mozart's thought about life at its best: there are often tears behind smiles but also a silver lining in the cloud.
I think the Count in the finale has his back against the wall and asking forgiveness to save what he has left of dignity. Better be a repenting sinner than a fool. All three collaborations between Mozart and da Ponte have a very liberal yet often cynical view of love and relationships, where adultery is often an unavoidable fact of life.
The fermata in Act IV mark the climax of the opera. The Count kneeling, his voice descending with his knee, begs forgiveness saying, “Countess, please forgive me.” It is in this moment that the Count realizes that he wronged the Countess. When she reveals herself to him; he sees the devotion and loyalty she has for him and cannot help being moved by her. It is as if his love was re-awoken by seeing her. In that moment right before the Count asks for forgiveness it is as if the veil of pride had been lifted from his face and he could finally see the mistakes he had made. In calling her Countess instead of Rosina, he is relinquishing his pride before her, for in experiencing a beloved one cannot help but bow before them and think themselves unworthy to be in their very presence. The Count, remembering his love is able to ask for forgiveness; the Countess, always having her love is able to pardon his egregious offense. She says to her husband “I am more clement, and answer, yes.” Her melody rises, symbolizing the transcendent element of her love and forgiveness. It is a sweet melody that seems to require no strain on her part, as if she had the ability to forgive in her from the beginning of the opera, all it took was the Count’s sincere gesture grounded in love to be forgiven. It is with this act of mercy that the opera is allowed to conclude. The ensemble sings in the style of a hymn: “Ah! All shall be made happy thereby.” This reconciliation was the last thing needed for Figaro to end as all comedies do, with all’s well ending well.
I think the Countess forgiving her husband's cheating in the end is a kind of message to the viewers.Probably this was rhe expectation towards the plays, in general,that they give a kind of morale in the end. Here,the count's repentance and the countess' willingness to forgive him speak for it Thank you for this intetesting video 😊
I believe this video needs a follow-up with the best thing this opera has: the ensembles. The Finales of acts 2 and 4 - especially the "Esci Ormai Garzon Malnato" -, the "Riconosci in Questo Amplesso" and the Basilio, Susanna and Count's ensemble in act 1 are masterpieces.
I know it occurs very late in the opera, but I wish you had given a few minutes to Susanna's Giunse alfin il momento.... Splendid analysis. Thank you for posting.
The overture is my absolute favorite piece of music. I wonder if you have any thoughts on if character played in a role in its composition and how he arranged the instruments?
I've only listened to the Barber of Seville. Read the synopsis of Nozze and was annoyed that Almaviva doesn't stay faithful to Rosina. I'd like to believe he meant his apology, too, and changes his ways.
absolutely, the first time I learned that Nozze is a sequel to Barber and what it meant for the love story in Barber, I was very dissapointed! but musically and also character wise I love Nozze :)
Today I listened to the opera finale several times and the algorythm made me discover this awesome channel. I wanted to ask, what do the Count's and Bartolo's arias have in common?
Glad you enjoyed it! They both share the same key ( D major) and use the same musical characteristics of opera seria, like dotted rythms, orchestration heavy in trumpets and percussion, to evoque " greatness" or seriousness. In Bartolos case it is clearly set in contraposition to his actual character ( he is ridiculous and people actually dont respect him), and for the Count it is played more at face value, but because of the link between the two, you could argue Mozart also sees the Count as unreasonable and somewhat "pathetic". If this interests you, I recommend the book I read for this video, it has a lot of this type of analysis! hope this helped
No such law ever existed. It was the medieval equivalent of an urban legend. It always existed in "that bad place over there," but in reality, nowhere. That's why it's set in "exotic" Spain.
A nice passionate girl. But the truth where is it? Don Giovanni doesn't know about primae noctis ( A majority of historians have concluded that the idea is a myth and that all references to it are from later periods.) Countess enjoys the presence of Cherubino, even Susana is not too far.
What do I feel about it ? I wish you could do ten more videos on this subject, each an hour long. Great job again Anna - thanks !
Your video is absolutely a gem. Seriously I can never get enough of this opera. Yes please do the ensembles especially "Riconosci in Questo Amplesso", cracks me up every time also brings tears of happiness as well. Is Figaro a comedy? I think it shows Mozart's thought about life at its best: there are often tears behind smiles but also a silver lining in the cloud.
I think the Count in the finale has his back against the wall and asking forgiveness to save what he has left of dignity. Better be a repenting sinner than a fool. All three collaborations between Mozart and da Ponte have a very liberal yet often cynical view of love and relationships, where adultery is often an unavoidable fact of life.
The fermata in Act IV mark the climax of the opera. The Count kneeling, his voice descending with his knee, begs forgiveness saying, “Countess, please forgive me.” It is in this moment that the Count realizes that he wronged the Countess. When she reveals herself to him; he sees the devotion and loyalty she has for him and cannot help being moved by her. It is as if his love was re-awoken by seeing her.
In that moment right before the Count asks for forgiveness it is as if the veil of pride had been lifted from his face and he could finally see the mistakes he had made. In calling her Countess instead of Rosina, he is relinquishing his pride before her, for in experiencing a beloved one cannot help but bow before them and think themselves unworthy to be in their very presence. The Count, remembering his love is able to ask for forgiveness; the Countess, always having her love is able to pardon his egregious offense.
She says to her husband “I am more clement, and answer, yes.” Her melody rises, symbolizing the transcendent element of her love and forgiveness. It is a sweet melody that seems to require no strain on her part, as if she had the ability to forgive in her from the beginning of the opera, all it took was the Count’s sincere gesture grounded in love to be forgiven.
It is with this act of mercy that the opera is allowed to conclude. The ensemble sings in the style of a hymn: “Ah! All shall be made happy thereby.” This reconciliation was the last thing needed for Figaro to end as all comedies do, with all’s well ending well.
You put my thoughts into words so well, every time I watch the end of this opera!
@@NemesisCOD Thank you kindly! That makes me happy to hear!
I think the Countess forgiving her husband's cheating in the end is a kind of message to the viewers.Probably this was rhe expectation towards the plays, in general,that they give a kind of morale in the end. Here,the count's repentance and the countess' willingness to forgive him speak for it Thank you for this intetesting video 😊
Excellent analysis. Going to see it tomorrow.
Wonderful and convincing explanations- Thank you!
I believe this video needs a follow-up with the best thing this opera has: the ensembles. The Finales of acts 2 and 4 - especially the "Esci Ormai Garzon Malnato" -, the "Riconosci in Questo Amplesso" and the Basilio, Susanna and Count's ensemble in act 1 are masterpieces.
Couldn’t agree more! Happy to meet a fellow Nozze fan :) I’ll definitely write this in the future videos idea list
"Esci Ormai Garzon Malnato" is probably the best piece of opera music ever written
😢😅❤😢😢😢😢 1:28 😢😢😂😂😮❤ 1:41 😅 1:43
Sono certo che Wolfi è felice della tua presentazione delle Nozze. E Lorenzo Da Ponte della tua pronuncia italiana. Mi congratulo. Brava! ❤
I know it occurs very late in the opera, but I wish you had given a few minutes to Susanna's Giunse alfin il momento.... Splendid analysis. Thank you for posting.
Hi, please could you do a video delving more into the different musical features of opera sepia vs opera buffs? Thanks
Love the video. Best regards from Argentina
❤❤❤thanks for Your efforts
The overture is my absolute favorite piece of music. I wonder if you have any thoughts on if character played in a role in its composition and how he arranged the instruments?
I've only listened to the Barber of Seville. Read the synopsis of Nozze and was annoyed that Almaviva doesn't stay faithful to Rosina. I'd like to believe he meant his apology, too, and changes his ways.
absolutely, the first time I learned that Nozze is a sequel to Barber and what it meant for the love story in Barber, I was very dissapointed! but musically and also character wise I love Nozze :)
Today I listened to the opera finale several times and the algorythm made me discover this awesome channel.
I wanted to ask, what do the Count's and Bartolo's arias have in common?
Glad you enjoyed it! They both share the same key ( D major) and use the same musical characteristics of opera seria, like dotted rythms, orchestration heavy in trumpets and percussion, to evoque " greatness" or seriousness. In Bartolos case it is clearly set in contraposition to his actual character ( he is ridiculous and people actually dont respect him), and for the Count it is played more at face value, but because of the link between the two, you could argue Mozart also sees the Count as unreasonable and somewhat "pathetic". If this interests you, I recommend the book I read for this video, it has a lot of this type of analysis! hope this helped
@@howimettheopera Sure it did! Thank you!
Great video !
Love it!
I love your videos ❤️
how about nessun dorma by puccini with poverotti singing please
No such law ever existed. It was the medieval equivalent of an urban legend. It always existed in "that bad place over there," but in reality, nowhere. That's why it's set in "exotic" Spain.
He means it and she accepts.
A nice passionate girl. But the truth where is it?
Don Giovanni doesn't know about primae noctis ( A majority of historians have concluded that the idea is a myth and that all references to it are from later periods.)
Countess enjoys the presence of Cherubino, even Susana is not too far.