John Wells, who translated Beaumarchais' plays, 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 in a series of compromising situations. 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 da Ponte's mistress when she
sang Susanna at the 1789 revival. The classic translation of E.J.
Dent is an excellent way to get to know both the twists and turns
of the plot and the stylish wit of da Ponte's innuendos.
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