Wolfgang Amadeus Mozart’s
The Washington Opera’s Student Guide
Set near Seville, Spain, in the late eighteenth century
ct 1
A room in the castle of the Count
It is Susanna and Figaro’s wedding day! They are so excited. Figaro is measuring their new room for furniture while Susanna wishes he were paying more attention to her. She tells Figaro she is worried about the Count’s attention. Susanna and Figaro vow to catch the Count in his own trap.
Marcellina enters with Dr. Bartolo. They are busy plotting their revenge on the happy couple because Figaro owes them money. Susanna enters and is angry to see Marcellina. They trade insults until Marcellina leaves.
Cherubino, the page, is sad and has come to ask Susanna for help. He was caught flirting with all the girls in the castle, and the Count has ordered him to leave at once. Cherubino has a secret crush on the Countess and he sings about how nervous and excited she makes him feel. He stops as they hear someone approaching. The Count! Cherubino quickly hides. The Count comes in and tells Susanna how much he likes her, not knowing that Cherubino can hear everything he is saying. As Don Basilio enters, the Count hides too! Basilio starts gossiping about the mischievious
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Cherubino and his infatuation for the Countess. The Count becomes angry and jealous and reveals himself. While he is talking, the Count finds Cherubino hiding. Now Cherubino is really in trouble! When the Count learns that Cherubino has overheard everything he said to Susanna, he appoints him as an officer in his regiment to get rid of him. Cherubino must leave immediately. Figaro enters and pleads with the Count to let him stay until after the wedding, but it is no use. Cherubino must leave today.
ct 2
The chamber of the Countess.
The Countess is sad and lonely as she thinks about how her husband ignores her. Susanna and Figaro enter, telling her how the Count has been bothering Susanna. They have come up with a plan that they hope will teach the Count a lesson. The Countess agrees to help them. Figaro has written a letter to Basilio that tells of a secret meeting the Countess is going to have. They know how jealous this will make him! Also, Susanna is to arrange a meeting with the Count, only they will send Cherubino dressed as a woman in her place.
As Figaro leaves to begin the plan, Cherubino enters to be disguised. He shows them his commission papers for the regiment and the Countess notices
that the letter does not have a seal on it. He sings a farewell song he wrote for his beloved Countess, and the two women begin to disguise him as Susanna and teach him to behave like a girl. The Countess sends Susanna to fetch something while she continues to dress Cherubino. They are interrupted by the arrival of the Count. Cherubino quickly hides in the dressing room. The Count enters furious and jealous after having received Figaro’s note. At that moment, a sound comes from the dressing room. The Countess swears that it is only Susanna, but her husband is not so sure. Susanna returns unnoticed, realizes what is taking place, and hides. The Count is furious and leaves to fetch tools to break the door down, taking his wife with him and locking the door behind him. Susanna and Cherubino come out in a panic!
Hurrying to escape the Count, Cherubino jumps out the window while Susanna hides in the dressing room. The Count and Countess return to open the door and discover who is hiding. The Count and Countess are very surprised when it is Susanna. The Count frantically searches the room for the rascal Cherubino while Susanna tells the Countess of Cherubino’s escape. Then the Count apologizes to his wife for not trusting her and begs her forgiveness. Susanna and the Countess explain that it was all part of the plan to cure him from his suspicions and jealousy, telling him how it was Figaro who wrote the Countess’ fake love note.
Suddenly, Antonio, the gardener, comes in to tell the Count that he just saw a man leap from the Countess’ window. Despite the efforts of Susanna, Figaro, and the Countess to convince the Count that Antonio is mistaken, the Count is suspicious again.
Dr. Bartolo, Marcellina, and Don Basilio enter and demand justice for Marcellina. If Figaro cannot repay his debt, he must marry Marcellina at once! The Count vows to investigate the case further.
ct 3
In the hall of the castle
The Count is reflecting on the whole situation. Susanna enters and makes a deal with him. She will meet him in the garden this evening if he gives her the dowry (money) he had promised. With that money she will be able to pay off Figaro’s debt to Marcellina. The Count agrees. After she leaves she meets Figaro. She tells him that the Count has fallen into their trap. The Count overhears this and becomes furious again.
Figaro, Marcellina, and Dr. Bartolo gather for the judgment of the Count and his advisor Don Curzio. It is ruled that Figaro must either pay or marry Marcellina. Marcellina learns of a birth-mark on Figaro’s arm and realizes that she is his long-lost mother! She also reveals that Dr. Bartolo is Figaro’s father. The family is joyfully reunited while the Count and Don Curzio are frustrated by the revelation. Figaro will wed Susanna and Bartolo will wed Marcellina. Every
one leaves to plan the joyous event.
As Cherubino and Barbarina pass through the hall, the Countess enters. She is once again dismayed and humiliated by her husband’s behavior, and mourns the loss of her youth and love. Susanna enters and tells her of her plans to meet the Count that evening. The Countess dictates a letter to confirm the meeting. They seal the letter with a pin and the Countess decides to meet her husband in Susanna’s place.
Barbarina enters with the disguised Cherubino. Antonio reveals Cherubino to the Count. The Count is about to punish Cherubino for disobeying him when Barbarina steps forward. She pleads with the Count and requests Cherubino for her husband. The Count agrees. Figaro enters and the evening’s festivities begin. When Susanna gives the Count the letter the Countess wrote for him, he pricks his finger on the pin.
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In the garden of the castle
When Figaro realizes that Susanna and the Count are exchanging secret notes, he begins to doubt Susanna. He tells Marcellina, who reflects on the jealous nature of men. Meanwhile, Figaro has been working with Dr. Bartolo and Don Basilio on a plan to catch Susanna. Bartolo recalls his youth while Figaro warns all men never to trust a woman!
Susanna and the Countess enter, disguised as each other. Susanna realizes that Figaro is listening and decides to tease him by singing about her love for the Count. Figaro is infuriated. Cherubino enters and begins to flirt with the Countess, dressed as Susanna. They are interrupted by the Count. He pursues Susanna (not knowing he is approaching his own wife)! Meanwhile, Figaro is becoming more and more upset because Susanna seems to be enjoying all this attention!
When Figaro goes to tell the Countess of Susanna’s behavior he finally recognizes his fiancée. Now it’s Figaro’s turn to tease Susanna! He begins to flirt with her. Susanna is enraged because she believes Figaro thinks she is the Countess. She even slaps his face! Eventually Figaro explains that he had recognized her voice long ago. The Count enters to see Figaro embracing Susanna, who is still dressed as the Countess. He calls everybody into the garden.
At last, the true Countess appears and reveals her identity. The Count realizes what he has done, and begs her forgiveness. The Countess sees that her husband has learned his lesson. She forgives him and everyone is united and happy. The opera ends with dancing and a merry celebration.
Who’s Who in the Opera
Count Almaviva Ahl-mah-VEE-vah (baritone), a nobleman married to Countess Rosina Almaviva Roh-ZEE-nah Ahl-mah-VEE-vah (soprano), a noblewoman
Susanna Soo-SAH-nah (soprano), the Countess’ chambermaid and engaged to be married to … Figaro FEE-gah-roh (bass), the Count’s valet. Cherubino Kar-oo-BEE-noh (mezzo-soprano), the court page. Marcellina Mar-cheh-LEE-nah (mezzo-soprano), Bartolo’s housekeeper and long lost mother of Figaro.
Don Basilio Bah-ZEEL-yoh (tenor), music master in the castle. Don Curzio COOR-tsyoh (tenor), a stuttering judge who proclaims the law and upholds the power of the Count.
Antonio Ahn-TOH-nee-oh (bass), the gardner.
Barbarina Bah-ba-REE-nah (soprano), the gardner’s daughter who is in love with Cherubino.
Wolfgang Amadeus Mozart was born in Salzburg, Germany on January 27, 1756. His parents knew he had musical talent at the age of three, when he began to play the harpsichord, an instrument like a piano. Mozart began to compose when he was five. He also became a virtuoso (expert players who achieved rock-star status during their lives) of the keyboard, violin, and viola. At seven, Mozart was performing for royalty all over Europe. He wrote his first opera when he was twelve. By the time of his death at age 35 he had changed the world of music with over 600 different compositions- operas, symphonies, concertos, chamber and church music.
Writer
Mozart’s music belongs to the Classical Period (1750-1820). Mozart wrote The Marriage of Figaro and conducted the premier at the Burgtheatre in Vienna on May 1, 1786. It was an instant success. In this masterpiece of comic opera, he demonstrates exceptional mastery of the libretto (story), as well as showcasing some of the most wonderful ensemble writing in all of opera. Other operas by Mozart include Don Giovanni, The Magic Flute and Cosí fan tutte.
Did You Know?
To play all of Mozart’s music in a row would take 202 hours!!
Wolfgang Amadeus Mozart Composer (1756-1791)Lorenzo da Ponte Librettist (1749-1838)
Lorenzo da Ponte was born in 1749 in a small Italian town north of Venice called Vittorio Veneto. He studied and became a priest, but changed careers in 1782 when Emperor Joseph II apponted him court theater poet. He maintained this position of honor for nearly ten years. Da Ponte was known as the best librettist in all of Europe. He and Mozart collaborated on three operas: Don Giovanni, Così fan tutte, and The Marriage of Figaro. They were all staggering triumphs. Eventually, da Ponte moved to London where he wrote poetry, tutored language, and managed a theatre until his departure for America in 1805. He lived in New York, where he managed several grocery stores, taught Italian, and helped establish the Italian Opera House of New York City in 1833. He died in New York on August 16, 1838.
Where did the story come from?
The opera was based on a play by Pierre Augustin Caron de Beaumarchais (Bo-mar-SHAY) 1732-1799
Marsha Leboeuf, Costume Director for The Washington Opera
What type of work do you do for the Opera?
Costuming an opera is quite a long process. After the designs are drawn on paper, the fabric must be researched and approved by the designer, then we purchase and dye or launder the fabric, create a pattern, cutout a “practice” costume, and finally cut the real costume. Then we must adjust the costumes to fit our singers. Many shows have an average of 125 costumes, and some are double-cast!
What do costumes add to a production?
Aside from identifying time and place for the audience, the most important role of the costume is to help the performer develop and identify with their character. I sometimes think of a costume as the armor a performer
puts on before facing the audience. That is why it is so important that the singer feel comfortable with his or her costume. They must have spent enough time in it for it to feel like a natural extension of their character.
In Le Nozze di Figaro, what are some of the challenges presented in costuming Cherubino?
Well aside from wearing pants, we try to mask some of the feminine tendencies of the actress. The costume should help the singer feel like a teenage boy. A long jacket with a shirt and a high neckline helps to make her body look more boyish. And no high-heeled shoes allowed! Most of all, Cherubino must be free to move around the stage.
Finally, do you have any advice for aspiring costume directors or designers?
I would recommend that anyone interested in doing costumes should make sure that they try performing first. Until you have been on the stage, it is difficult to understand what costuming is all about.
Meet the Singers
Kristine Jepson will perform Cherubino for The Washington Opera and Leah Summers will perform Cherubino for Pittsburgh Opera’s production of Le Nozze di Figaro. They are both mezzo-sopranos.
What was the first opera you ever saw and how old were you when you saw it?
Kristine: I was about 16 and I saw Aida in Omaha, Nebraska, in an arena with LIVE elephants and tigers. It was VERY exciting.
Leah: My first opera was Madama Butterfly… I was about 6 or 7.
When did you decide to become an opera singer?
Kristine: I was always a singer. My family was musical and I played instruments (bassoon and saxophone) and sang in the chorus at school. I didn’t have much exposure to opera until I went to graduate school and fell in love with opera.
Leah: Both my parents were professional singers who lived and worked in Europe for many years. While growing up, I also studied the piano and the violin, but somehow I always knew that I loved to sing and that I would someday become a singer.
What was the first role you performed?
Kristine: I played the part of the Squirrel in Ravel’s L’Enfant et les Sortileges (The Child and the Enchantments).
Leah: The first role I
ever performed was Papagena in Mozart’s The Magic Flute.
What is your favorite aspect of playing Cherubino?
Kris-
tine: I like his youthful zest for life and
love. He is so wide-eyed about everything and he’s silly without knowing that he is.
Leah: Trying to show all of the many sides of Cherubino’s character. He’s youthful, lively, fun, charming, as well as being vulnerable and just plain gullible at times. Also, it’s just great fun playing a boy!
How does it feel to play a boy?
Kristine: I actually prefer it. I feel very comfortable in trouser roles and it’s a relief not to have to be glamorous. I know that sounds crazy, but I put those pants on and I just FEEL like the part.
Leah: It sure beats having to wear big, HEAVY, puffy dresses! But one has to practice being a boy so it looks natural.
What is the most fun thing about being an opera singer?
Kristine: Probably that I’m a girl and dress up like a boy almost 50% of my life.
Leah: Creating a character on stage and making it come to life while singing wonderful music is a privilege and a challenge, and that is what I enjoy most.
Interviews conducted by Khorshed Dastoor, The Washington Opera Education Department Intern