The act begins in the chambers of Countess Rosina, who laments the Count’s lack of attention and love towards her through the song “Grant, love, some comfort.” She discusses the Count’s promiscuous nature with Susanna, who desperately wants to left alone. Figaro requests Almaviva to bind him and Susanna in holy matrimony. Subsequently, Figaro returns with the townspeople, who are all merry and ready for a ceremony. He vows to give him a military commission and ruin his life, as the song “No more gallivanting,” or “Non più andrai” plays in the background. He then discovers Cherubino and is infuriated that the boy heard him courting Susanna. Almaviva, in a fit of rage, reveals himself through a chamber work “What do I hear!” He relates to an amused Bertillo the scene involving Cherubino and the gardener’s daughter and further states that he will be sending the page away. Don Basilio, a music teacher enters the scene referencing Cherubino’s alleged infatuation towards the Countess. However, the Count is subsequently forced to hide as another voice is heard.
Cherubino quickly hides, as the Count proposes a private romantic getaway to Susanna. He explains how he is infatuated with women, and cannot control himself through the song “I don't know anymore what I am.” However, before he gets any advice, Count Almaviva interrupts them. He is being sent away as the Count has caught him alone with Barbarina, the gardener’s daughter. Next, Cherubino, a young page seeks advice from Susanna. However, the women act politely, albeit sarcastically, performing the duet “After you, brilliant madam,” before they leave. Bartolo is irate with Figaro for making a fool out of him, while Marcellina is irate with Susanna, who stole Figaro from her.
Marcellina and Doctor Bartolo enter the scene. Figaro vows to put an end to the Count’s schemes and leaves, as “If you want to dance, sir count” plays in the background. Although the Count himself abolished this ritual when marrying Countess Rosina, he wants it reinstated. He plans on invoking “droit du seigneur,” the feudal right that allows a lord to consummate a servant girl before her husband, on her wedding night. As he takes measurements of a room, Susanna is trying on her wedding bonnet, as they sing the duet “Five, ten, twenty,” or “Cinque, dieci, venti.” Sussana expresses her concerns about being too close for comfort to the Count’s chamber, who is also pursuing her. Act Iįigaro, Count Almaviva’s servant, also the protagonist, is on the verge of marrying Susanna, maid to the Countess. The events took place in Seville, Spain in Count Almaviva’s palace. It is a continuation of another famous opera, “The Barber of Seville.” The play depicts “la folle journée,” or a “day of madness,” and is set several years after its predecessor. He re-introduced some of Mozart’s compositions but further added some of his own work. Mozart even reused a musical phrase from the first act of opera in the overture for his own “Così fan tutte.” “Non più andrai,” Figaro’s aria is also quoted by the composer in “Don Giovanni.” This aria is further utilized as a “military march.” In 1819, an English adaptation of “The Marriage of Figaro” was crafted by Henry R. Ferenc Kazinczy, the famous Hungarian poet praised it, so did Joseph Haydn. Mozart's music generally garnered applause among the audience and was also admired by the connoisseurs. The political references were removed, as was Figaro’s (the protagonist) original climactic rant, and the whole thing was transformed into poetic Italian. Wolfgang had approached Da Ponte with “The Mad Day,” while the latter crafted the libretto within six weeks. This was the first collaboration between Mozart and Lorenzo. The operatic version was a grand success. “The Marriage of Figaro” was first banned in Vienna, but Da Ponte eventually managed to acquire the Emperor’s official approval. They also foiled the efforts of their employer Count Almaviva, a philandering nobleman trying to seduce Susanna and teach him the value of faithfulness. It’s the story of servants Susanna and Figaro, whose romance successfully flourishes into marriage. The libretto is based on a stage comedy titled “The Mad Day,” or “The Marriage of Figaro” by Pierre Beaumarchais. The premiere of “Le nozze di Figaro” was held on the 1st of May 1786, at the Burgtheater in Vienna, Austria. He composed this opera comprising Four Acts in 1786, while Lorenzo Da Ponte wrote the Italian libretto. “The Marriage of Figaro,” also known as “Le nozze di Figaro” in Italian, is a comic opera (opera buffa) crafted by Wolfgang Amadeus Mozart.