Who wrote the Libretto for The Marriage of Figaro?
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The Marriage of Figaro (, ), K. 492, is an opera buffa (comic opera) 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 a stage comedy by Pierre Beaumarchais, "La folle journée, ou le Mariage de Figaro" ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. 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.
The Marriage of Figaro
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The play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Mozart, also called "The Marriage of Figaro" (1786). In 1799, another opera based on the same play, "La pazza giornata, ovvero Il matrimonio di Figaro", was produced in Venice with libretto by Gaetano Rossi and music by Marcos Portugal.
The Marriage of Figaro (play)
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In 1786, Wolfgang Amadeus Mozart composed an opera, "Le Nozze di Figaro", based on "The Marriage of Figaro", with a libretto by Lorenzo Da Ponte based on the play. Several composers including Paisiello in 1782 wrote operas based on "The Barber of Seville". Rossini's 1816 version is his most successful work and still often performed. In 1966, Darius Milhaud composed an opera, "La mère coupable", based on "The Guilty Mother".
Pierre Beaumarchais
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"" (You shall go no more) is an aria for bass from Mozart's 1786 opera "The Marriage of Figaro", K. 492. The Italian libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, "La folle journée, ou le Mariage de Figaro" (1784). It is sung by Figaro at the end of the first act.
Non più andrai
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The cavatina "" is an aria for baritone or bass from the first act of the opera "The Marriage of Figaro" by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). The Italian title means "If you want to dance".
Se vuol ballare
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In Mozart's "The Marriage of Figaro", which premiered in 1786 with a libretto by Lorenzo Da Ponte, the comic plot revolves around the successful efforts of the young bride and groom, Figaro and Susanna, to block the efforts of the unfaithful Count Almaviva to seduce Susanna. To achieve his aim, the frustrated Count threatens to reinstitute "droit du seigneur". It was based on a play by Pierre Beaumarchais.
Droit du seigneur
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The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were "Don Giovanni" and "Così fan tutte". It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor before any music was written by Mozart.
The Marriage of Figaro
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"Figaro Gets a Divorce" is conceived as a sequel to Mozart's 1786 opera "Le Nozze di Figaro (The Marriage of Figaro)" based on the 1778 play "La Folle Journée, ou Le Mariage de Figaro", by Pierre Beaumarchais. This had been created by Beaumarchais as a sequel to his play "Le Barbier de Séville". The latter was also set as the opera "The Barber of Seville" by Rossini in 1816 (itself preceded by other versions, including a 1782 setting by Giovanni Paisiello). Pountney, who in his capacity as Chief Executive and Artistic Director of the Welsh National Opera commissioned the composition, was inspired in his libretto by two different theatrical follow-ups to these two plays, Beaumarchais's own "La Mère coupable (The Guilty Mother)", and Ödön von Horváth's 1936 play, "Figaro läßt sich scheiden (Figaro Gets a Divorce)." Both of these plays have previous operatic settings, the former by Darius Milhaud (1966), Inger Wikström ("Den brottsliga modern", 2006), and Thierry Pécou (2010), the latter by Giselher Klebe (1963). The opera takes the characters into the period of the French Revolution.
Figaro Gets a Divorce
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Following the success of his libretto for "The Marriage of Figaro", Da Ponte was asked by Storace to provide for him a libretto based on Shakespeare. Da Ponte compressed Shakespeare's plot into two acts, but retained nearly all the key elements. "Gli equivoci" was the second of Storace's operas to be performed at the Burgtheater.
Gli equivoci
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Marcos António da Fonseca Portugal was born in Lisbon. He studied music at the Patriarchal Seminary in Lisbon where, as a 14-year-old student, he wrote his first work, a "Miserere". He later worked as composer and organist at the Patriarchal See, and was "maestro" at the Theatre of Salitre in Lisbon from c. 1784. He lived in Italy from late 1792 to 1800, possibly funded by the Prince Regent D. João, the later King John VI of Portugal. He wrote 21 operas for various Italian theatres. The first, "I due gobbi" (also known as "Confusioni della Somiglianza"), premiered in Florence in the spring of 1793. His version of "The Marriage of Figaro", titled "La pazza giornata, ovvero Il matrimonio di Figaro" (The Crazy Day, or The Marriage of Figaro), to a libretto by Gaetano Rossi, premiered in Venice in 1799. Like most theatre composers of the time, Portugal set several librettos that had proven successful for earlier operas, such as Metastasio's "Demofoonte" (premièred at La Scala, Milan, in 1794) and "Artaserse"; he set many stories that had been used before, including Serse, Alceste, Adrasto, Semiramide and Sofonisba.
Marcos Portugal returned to Portugal in 1800. He became "maestro" at the São Carlos National Theatre in Lisbon and was appointed music master at the Patriarchal Seminary in Lisbon. He continued to write operas, mainly "opere serie", and a large number of religious works, until the Prince Regent summoned him to the Portuguese colony of Brazil in 1811. Upon arriving, Portugal was appointed music master to the sons and daughters of the Prince Regent and became the official Royal Composer.
Marcos Portugal