A Book of Operas: Their Histories, Their Plots, and Their Music — John Shaqi
A Book of Operas: Their Histories, Their Plots, and Their MusicKrehbiel, Henry Edward
History
A Book of Operas: Their Histories, Their Plots, and Their Music
Krehbiel, Henry Edward
Operas -- Stories, plots, etc.
Mozart was right to let the feelings of the loving maiden shine
forth in all their depth and purity, for Susanna has none but her
Figaro in her mind, and the sentiments she expresses are her true
ones. Figaro, in his hiding-place, listening and suspecting her of
awaiting the Count's arrival, throws a cross-light on the situation,
which, however, only receives its full dramatic signification by
reason of the truth of Susanna's expression of feeling. Susanna,
without her sensual charm, is inconceivable, and a tinge of
sensuality is an essential element of her nature; but Mozart has
transfigured it into a noble purity which may fitly be compared
with the grandest achievements of Greek sculpture.
Cherubino, watched from different places of concealment by the
Count, Figaro, and Susanna, appears, and, seeing the Countess, whom
he takes for Susanna, confounds not her alone, but also the Count
and Figaro, by his ardent addresses to her. He attempts to kiss her,
but the Count steps forward and interposes his cheek. The Count
attempts to box Cherubino's ears, but Figaro, slipping forward at
the moment, receives the blow instead. Confusion is at its height.
The Count makes love to his wife, thinking she is Susanna, promises
her a dowry, and places a ring on her finger. Seeing torches
approaching, they withdraw into deeper darkness. Susanna shows
herself, and Figaro, who takes her for the Countess, acquaints her
of the Count's doings which he has just witnessed. Susanna betrays
herself, and Figaro resolves to punish her for her masquerading.
He makes love to her with extravagant pathos until interrupted by
a slap in the face. Susanna's patience had become exhausted, and
her temper got the better of her judgment. Figaro laughs at her
ill-humor and confesses his trick, but renews his sham love-making
when he sees the Count returning. The latter calls for lights, and
seizes Figaro and his retainers. In the presence of all he is put
to shame by the disclosures of the personality of the Countess and
Susanna. He falls on his knees, asks forgiveness, receives it, and
all ends happily.
CHAPTER III
"DIE ZAUBERFLÖTE"
Public-domain text, read in full here on John Shaqi.
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