Adapted from an essay I wrote in first year, I've decided to share why I agree with Charles Rosen's statement.
Enjoy.
Dings and Dongs!
Susanna admires her wedding veilAnd so, if one morning, the dear little Count – ding, ding! – sends you three miles away – ding, ding, dong, dong! – the devil would bring him to my door –
Figaro vs. Dr Bartolo!
Dr Bartolo’s more old-fashioned aria, on the other hand, sets out in D major, beginning with a strong D for the opening phrase ‘la vendetta!’, which is accompanied by Ds from every instrument in the orchestra apart from clarinets. As the piece progresses, however, it spirals out of control into a vindictive, rapid-patter melody in which Bartolo reveals himself to be nothing more than a bitter fool, although he regains his composure by the end of the number. Although some consider ‘La vendetta’ to be one of Le nozze di Figaro’s weaker pieces, it usually receives a greater applause than ‘Se vuol ballare’, and both demonstrate Mozart’s talent for portraying characters through music.
Female Rivalry!
Cherubino!
the basis of [Cherubino’s] character is an undefined and restless desire. He is entering adolescence all unheeding and with no understanding of what is happening to him, and throws himself eagerly into everything that comes along.Oh, Cherubino!
He's Behind You!
The Countess Laments
Render, O love, some solace Mozart has skilfully varied the melody of the lines so that the repetition is not distracting and allows the countess’s beautiful strains to wash over the listener. The Countess is a mezzo carattere (middle character), occupying a middle ground between serious and comic characters. Her presence raises the seriousness of the opera, despite it being a comedy. |
Comedic Chaos
Bibliography
Beaumarchis, Pierre-Augustin Caron. Le Mariage de Figaro (1785)
Burkholder, J. Peter, Grout, Donald Jay and Palisca, Claude V. A History of Western Music (New York, 2010)
Dent, Edward J. Mozart’s Operas: a critical study (Oxford, 1947)
Kennedy, Michael and Kennedy, Joyce. Oxford Concise Dictionary of Music (Oxford, 2007)
Knapp, J. Merrill. The Magic of Opera (New York, 1985)
Levin, David J. Opera Through Other Eyes (California, 1993)
Lindenberger, Herbert. Opera: The Extravagant Art (Cornell, 1984)
Moberly, R. B. Three Mozart Operas (London, 1967)
Osborne, Charles. The Complete Operas of Mozart: a critical guide (London, 1978)
Riding, Alan and Dunton-Dower, Leslie. Opera (London, 2006)