Copyright © 2014 The Metropolitan Opera All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2014 by Amadeus Press An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 33 Plymouth St., Montclair, NJ 07042 English translation of libretto copyright © 1998 by Leyerle Publications, 28 Stanley Street, Mt. Morris, New York 14510. English translation by Nico Castel. Originally published by Leyerle Publications as part of The Libretti of Mozart’s Completed Operas, in two volumes. These publications, and others in the Leyerle Opera Libretti series, are available directly from Leyerle’s website at www.leyerlepublications.com. Printed in the United States of America Book design by Mark Lerner Library of Congress Cataloging-in-Publication Data is available upon request. www.amadeuspress.com CONTENTS Introduction Synopsis In Focus by William Berger Program Note by Andrew Porter LE NOZZE DI FIGARO Notes by Nico Castel Photographs INTRODUCTION With its sublime mix of humor, pathos, and deep humanity, Le Nozze di Figaro has been one of Mozart’s most popular works since it first saw the stage in 1786, and it remains a high-water mark of opera itself to this day. Figaro had its Met premiere in 1894, with some of the biggest stars of the day in the leading roles, and it has attracted many great Met artists ever since, from Gustav Mahler, who conducted a new production in 1909, to celebrated interpreters of the title role such as Ezio Pinza, Cesare Siepi, or in more recent years, Bryn Terfel and Ildar Abdrazakov. It is also a signature work of Met Music Director James Levine, who has led more than 65 performances since 1985. The first collaboration of Mozart and librettist Lorenzo Da Ponte (they would later go on to create Don Giovanni and Così fan tutte), Figaro stands as one of the great human comedies in the repertoire, and many of its melodies have long transcended their operatic origins and become a part of our collective musical consciousness. Like the previous volumes of the Metropolitan Opera Presents series, this book is designed to give readers an in-depth introduction to this timeless masterwork. In addition to the complete libretto in Italian and English, we have included a synopsis, a detailed program note with historical background, and the “In Focus” feature we provide in the Met’s house program every night—a brief summary of key aspects of the opera. We have also featured a wealth of archival photos from Le Nozze di Figaro’s 120-year history at the Met. Whether you experience Figaro in the opera house, as part of our Live in HD movie-theater transmissions or radio broadcasts, or as a web stream, we hope this book will give you all the information you need to enjoy and appreciate one of opera’s most beloved works. To learn more about Met productions, Live in HD movie-theater transmissions, Met membership, and more, visit metopera.org. Ezio Pinza as Figaro and Bidú Sayão as Susanna, 1940 METROPOLITAN OPERA ARCHIVES Synopsis Act I Count Almaviva’s estate near Seville, 18th century. Figaro and Susanna, servants to the Count and Countess Almaviva, are preparing for their wedding. Figaro is furious when his bride tells him that the Count has made advances toward her and vows to outwit his master. The scheming Dr. Bartolo appears with his housekeeper, Marcellina, who wants Figaro to marry her as a way to cancel a debt he cannot pay. When she runs into Susanna, the two women trade insults. The page, Cherubino, enters and, finding Susanna alone, tells her that he is in love with each and every woman in the house. He hides when the Count— who is angry because he caught Cherubino flirting with Barbarina, the gardener’s daughter, earlier—shows up. The Count again pursues Susanna, but conceals himself when the music master, Basilio, approaches. When Basilio tells Susanna that Cherubino has a crush on the Countess, the Count furiously steps forward. He becomes further enraged when he discovers the page in the room. Figaro returns with a group of peasants who praise the Count’s progressive reform in renouncing the traditional right of a nobleman to take the place of a manservant on his wedding night. The Count orders Cherubino to join his regiment in Seville and leaves Figaro to cheer up the unhappy boy.