Figaro Flashcards

Question

No.26 aprite un po'quegli occhi (Figaro)

Answer 1

Short section of recitative accompanied by a full string orchestra. Moment of heightened emotion. Phrases from libretto marked by orchestra. Figaro as bereft from assuming his wife was unfaithful. Accompanied recit (obligato) shows heightened emotions, and all the lines in the libretto are commented on by the orchestra shows Figaro’s pain and anger with the idea of his fiancee’s infidelity. Even though he is not a noble character it matches with the count’s on one act III. Mozart allows the servants to rise to a higher musical level. No one there? – tentative string phrases Darkness surrounds me – undulating arpeggios. How shameless to betray me on the night of our wedding – a ‘shameful’ flattened seventh chord. All your girlish glances...innocent laughter… - dotted skipping rhythms and flirtations upper string movements. Aria is anger at the fickleness of women. His rage aria if you will. Full of jealousy, restive accompaniment and uneven vocal line, very angry.

Answer 2

Flute, oboe, bassoon and soprano soloists. Melodies joining together. Pizzicato change to arco at bar 51 to match the text ‘all the world reposes' Melodies are beautiful and simple. Thread in and out of the vocal line, supporting and complementing Susanna’s vocal part. Aria, beautiful in 6/8 very phrased. Ambiguity lost on Figaro.

Answer 3

The page decides to approach ‘Susanna’ to woo her. The count and Susanna watch from a distance. Cherubino demands a kiss from her, figaro comes forward to see more clearly and is hit by the count who means to hit Cherubino. The count approaches ‘Susanna’ figaro watches angrily. The count offers her a dowry and a ring. Figaro enters to disturb the couple, the count leaves and ‘Susanna’ leaves to the right. All is calm but figaro will set the trap for his venus and her mars. Susanna enters with the manners of the countess. Figaro explains the situation to her and then realises her voice. He kneels on the floor and pours out his passion for the ‘countess’. Figaro explains to Susanna he recognised her all the way through. A sensuous melody in 6/8 lots of reconciliation. Susanna explains why they were dressed as each other. The count enters saying he cannot find ‘Susanna’ anywhere. Susanna tells figaro that the countess is dressed up as her and figaro loudly proclaims his love to the ‘countess’ so that the count will hear. The count swears at his unfaithful wife. The count shouts for assistance and grasp Figaro by his arm. Antonio and Basilio enter. Their lights illuminate the scene, the count accuses figaro of seducing his wife. Basilio and Antonio are surprised, and figaro enjoys the confusion. The count grabs Cherubino out of the pavilion, then comes Barbarina, Marcellina and the ‘countess. The ‘countess’ kneels before the count and pleads forgiveness, which he refuses. Figaro pleads and the count refuses too. Then the real countess comes out of the pavilion, and count kneels and begs her forgiveness which she gives. Everyone rejoices. The trouble is ended and everyone is happy.

Answer 4

often regarded as exemplary of Mozart perfection ‘based on a double progression, from disunity to unity and toward Susanna’s primacy' characters begin with different themes but by the end Figaro sing Susanna's theme and his is gone

Answer 5

Large and complex plot. Beaumarchais’s five-Act play rich and discursive but DP had to remove and simplify elements. Cast reduced. Transformed Figaro from ‘grand satirical observer’ to ‘buffo schemer’. Modifications as a consequence of the problems from the original play.

Answer 6

Integration of musical style and dramatic meaning. Tonality underlying form. Dramatic qualities of Mozart’s style based on tonal or harmonic contrasts, rather than melodic flights and fierce rhythms application in act ii finale

Answer 7

Good and evil introduced into the opera with Susanna’s announcement that the Count has designs on her. Loss of bliss and innocence as theme throughout. music ad nostalgia - countess laments in Dove sono restoration of bliss and harmony against false idealism and sentimental thinking preservation of hierarchy celebrating ideal of marriage Struggle of Figaro and Susanna for their marriage is a struggle taking place against the background of marriages. False expectations in the marriage of the Count and Countess. Set up to fail by romantic delusions Bourgeois individualism as destructive of the network of interrelationships on which it depends. Chorus of peasants important – communal celebration of wedding, keeping an eye on the union. Count refusing to forgive as leitmotif

Answer 8

Begins with her holding a coin, weird zoom out. She watches her husband leave on a hunt from the upstairs window. Moving around her bedroom. She goes to sit on her bed for the aria, which she does not visibly sing (seems as though it is being performed internally). Despite this, there is a huge focus on her face which appears pensive? The camera then pans around the room to Jesus on the cross and the Bible. Spends a lot of time looking at the room and her unmoving face.

Answer 9

Performed in front of closed stage curtain. Focus is only on her. Extravagant dress and cape situation adds to drama. Slow moving and static gestures such as reaching out hand to her love perhaps. Curtains open as her aria ends leaving her onstage.

Answer 10

She is onstage as Susanna tidies around her – then they all leave her alone. The bed is the focus of the stage, she sings as if to the bd at the beginning, leaning on it for support. Static. She isn’t very well lit, emphasising sadness but also means she is less focused. Seems unable to stand alone – leans on a lot.

Answer 11

Susanna and the Countess paired together on the bed, the Count asking for their forgiveness. Count getting closer to Countess whilst Susanna watches on. Again strange camera angles where you aren’t sure exactly what they are looking at. Susanna and Countess close throughout. Ends in chaos, lots of rushing around.

Answer 12

Susanna and Countess joining together, not in close proximity to begin with. Modern production, Countess bedroom but she is smoking. Susanna as onlooker at their relationship. Count and Countess no physical proximity. End with them all in a line, less chaotic than others, all do the same movement to move towards the back of stage then back to front.

Answer 13

Relationship between Countess and Susanna close. Count asking for forgiveness still not showing much closeness to Countess, lots of space between them whilst Countess seeks solace in Susanna’s presence. Still in the bedroom. Character separation at the end, desperation from Susanna and Figaro. Firago pulled between Marcellina and Susanna. Count and Countess join together.

Answer 14

In the garden at night. This production ends in confusing manner with flashing lights and running around the stage. Countess looks sad as they join together. Count joins Figaro and Susanna. Very dark, not particularly happy the lights come across as lightning? Count and Countess not particularly close, Countess seems annoyed in contrast to Susanna and Figaro hand holding.

Figaro Flashcards

(38 cards)