John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos.Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent

The Barber of Seville * The Marriage of Figaro * The Guilty Mother Eighteenth-century France produced only one truly international theatre star, Beaumarchais, and only one name, Figaro, to put with Don Quixote or D'Artagnan in the ranks of popular myth. But who was Figaro? Not the impertinent valet of the operas of Mozart or Rossini, but both the spirit of resistance to oppression and a bourgeois individualist like his creator. The three plays in which he plots and schemes chronicle the slide of the ancien régime into revolution but also chart the growth of Beaumarchais' humanitarianism. They are also exuberant theatrical entertainments, masterpieces of skill, invention, and social satire which helped shape the direction of French theatre for a hundred years. This lively new translation catches all the zest and energy of the most famous valet in French literature. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Wye Jamison Allanbrook’s widely influential Rhythmic Gesture in Mozart challenges the view that Wolfgang Amadeus Mozart’s music was a “pure play” of key and theme, more abstract than that of his predecessors. Allanbrook’s innovative work shows that Mozart used a vocabulary of symbolic gestures and musical rhythms to reveal the nature of his characters and their interrelations. The dance rhythms and meters that pervade his operas conveyed very specific meanings to the audiences of the day.

If you attended the opera in the 18th century, you could buy a program booklet with side-by-side translations of the text and a list of the participants. Think of "The Murder of Figaro" as one such souvenir booklet. Just add music--and imagination: It's 1786, and "The Marriage of Figaro," a new comic opera by Amadé Mozart and Lorenzo Da Ponte, has just begun its first onstage rehearsal when a corpse is discovered in the wings: it's the universally-loathed Imperial Censor. Despite a verdict of suicide, Da Ponte is arrested, and singers accuse each other of murder. In a desperate scramble to save "Figaro," Da Ponte, and their lives, Mozart and his clever wife Constanze set out to solve this deadly mystery. If they fail, "Figaro" will never play in Vienna! Boston diva Susan Larson was a professional concert and operatic soprano for thirty years. She not only sang a string of Mozart's most iconic soprano roles (Cherubino, Donna Anna, Papagena, Fiordiligi, etc.), she has read his collected letters and researched the lives of his contemporaries to create this antic vision of what might have been: Mozart plays Sherlock Holmes "The Marriage of Figaro" started life as a scandalous stage play by Beaumarchais, and became a scandalous opera by Mozart and Da Ponte. The unusual opera libretto format is divided into the classical five acts. Monologues become arias, and dialogs become duets. Since operas of the time often started with multiple overtures, "The Murder of Figaro" has three. The plot follows that of the opera in an extremely loose fashion, with lots of coffee breaks and detours into Shakespeare, other Mozart operas, hot news and scandals of the day, and the American Revolution. Says Larson about her approach to the book: "The original singers in "Figaro" have always fascinated me. They are largely forgotten, but were hard-working international stars in their day. Did they love the music written for them by the brash young upstart Mozart? Did they squabble and throw prima-donna fits? I invented rather messy lives for them, based on the lives of the many opera singers I have known in my life; sometimes behaving nobly sometimes abominably." Regarding Mozart himself, she adds: "I was a professional concert and operatic soprano for thirty years. Mozart was my hero and idol. We were teacher and pupil. I believe we were friends."