Le Nozze di Figaro in the context of "Lorenzo Da Ponte"

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⭐ Core Definition: Le Nozze di Figaro

The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] ), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.

Considered one of the greatest operas ever written, it is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. In 2017, BBC News Magazine asked 172 opera singers to vote for the best operas ever written. The Marriage of Figaro came in first out of the 20 operas featured, with the magazine describing it as being "one of the supreme masterpieces of operatic comedy, whose rich sense of humanity shines out of Mozart's miraculous score".

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Le Nozze di Figaro in the context of Number opera

A number opera (Italian: opera a numeri; German: Nummeroper; French: opéra à numéros) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses. They may also be ballets and instrumental pieces, such as marches, sinfonias, or intermezzi. The number opera format was standard until the mid-19th century and most opera genres, including opera seria, opera buffa, opéra comique, ballad opera, Singspiel, and grand opera, were constructed in this fashion.

The replacement of numbers with more continuous music began in operas by Jommelli, Traetta, Gluck, and especially Mozart, whose late operas Le Nozze di Figaro and Don Giovanni contain several segments in which different numbers are unified by bridge passages to form a musical whole. This trend became even more striking in the operas of the German composers Beethoven, Weber, and Meyerbeer, while their Italian and French contemporaries Rossini, Donizetti, Bellini, and Auber retained the number opera style.

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