| For Soprano From Le nozze di Figaro composer: W.A. Mozart |
THE MARRIAGE OF FIGARO AND THE BARBER OF SEVILLE
In our exploration through of classic operas, we often hear here and there references to the history of Figaro and his friends; the main reference that comes to my mind is that related to The Barber of Seville, particularly, Rossini’s opera. That famous and well-known aria "Largo al factotum", performed by the character of Figaro; is my most immediate evocation about.
I have been curious about those that joins the story told on Rossini’s “Barber” and Mozart's "The Marriage of Figaro". In the story told with Rossini's music, the Count of Almaviva (Tenor) is just conquering the captive Rosina, meanwhile in Mozart’s Opera, Figaro is arranging his own Marriage.
Let's organize the ideas: The story told with Rossini’s music, was premiered in 1816; while the Mozart's one saw the light in 1786. But Mozart's is telling about later events on the whole story; we can appreciate that in the beginning of act 1, when we see that Almaviva is already married with Rosina. The reason for all this, is that the mentioned operas, have their correspondence in a theatrical trilogy called “The Figaro Trilogy”, written by Pierre-Augustin Beaumarchais, created between 1775 and 1792: The Figaro Trilogy: The Barber of Seville, The Marriage of Figaro, The Guilty Mother (Oxford World's Classics)
1. In The Barber of Seville, Almaviva is pretending Rosina’s love with the complicity of Figaro - 2. In The Marriage of Figaro, Almaviva (already married to Rosina), tries now to conquer Fígaro’s girlfriend (Fígaro’s future wife), provocating an inevitable confrontation. - 3. In “The Guilty Mother”; Another series of events and confusions will happen in relation to the children of Count and Rosina.
1. In The Barber of Seville, Almaviva is pretending Rosina’s love with the complicity of Figaro - 2. In The Marriage of Figaro, Almaviva (already married to Rosina), tries now to conquer Fígaro’s girlfriend (Fígaro’s future wife), provocating an inevitable confrontation. - 3. In “The Guilty Mother”; Another series of events and confusions will happen in relation to the children of Count and Rosina.
The question then is: We have 3 plays and two operas; is there a third opera? The answer is: Yes, in fact, there are 2 of them: The first one, composed by Darius Milhaud, and called "La mère coupable", and the second one; "The Ghosts of Versailles" composed by John Corigliano. They are quite distant in time and in style with respect to those composed by Mozart and Rossini. The Corigliano’s opera is written in English and has a completely contemporary musical style, that is evident with a naked eye. There is no doubt that it is of special interest to explore and know more about this opera John Corigliano & William M. Hoffman: The Ghosts of Versailles. Despite having more theatrical sequels of these dear characters; the official is "The Guilty Mother" of Beaumarchais. On the other hand, it should be noted that although that The Barber of Rossini, it is worldwide known and frequently represented; its argument was first taken in the homonymous-earlier opera of Paisiello who was contemporary with Mozart.
Giunse alfin il momento
