|Kiri Te Kanawa||Actor|
The place: Count Almaviva's - governor of Andalusia - palace in Spain.
Countess Rosina is Almaviva's wife but ignorant of the fact that her husband is trying to use the ancient regime credo - the right of the seigneur. (Primae noctis).The Count is looking for amorous advances towards Susanna, the Countess maid and head chambermaid, before the consummation of her marriage to Figaro.
Susanna is to be betrothed to Figaro, the man she loves and to whom she is engaged. Figaro is the count's chief steward and the concierge of his castle.
Count Almaviva discovers that his young attendant, Cherubino, is interested in the Countess. (Actually he was in the love with every woman). So, the Count decides to send Cherubino away as a private in his own regiment.
Suzanna reveals everything o Figaro and the Countess
Figaro, Susanna, and the Countess concoct a plot to abash Count Almaviva and disclose his unfaithfulness, forcing the count to look ridiculous and extravagantly farce.
In the meantime Figaro is caught up in a disagreement with doctor Bartholo and Marceline (another housekeeper - in love with Figaro, inadvertently Figaro's mother) which ends up when he is disclosed to be their son.
At night, all find themselves in the palace, where a funny series of cases of mistaken identity results in the Count's disgrace and then pardoned by the Countess.
Figaro and Suzanna get married.
In 1786, Mozart set to music this Italian Libretto (often called: The Day of Madness). The opera is comic - buffa, and the libretto is written by Lorenzo da Ponte (I believe in 1784)
Perhaps what's funnier is that this masterpiece was banned in Vienna because it has satirical notions against the aristocracy. Indications of a French revolution were beginning to surface and came two years after Figaro (The fall of the Bastille; march to Versailles, French king and assembly returned to Paris, national guard formed in Paris under Lafayette, rising in French provinces..........)
This recording is lovely.
It covers, live; a wide range of music and songs.
There is cracking charm in using motley of assortments of different performances. Karl Bohm, a Mozarist to the bone, has given the opera Music for Life.
This is one of different interpretations that I am happy to own .......... For life