OPERA PHILADELPHIA &

T H E S C H O O L D I ST R I C T O F P H I L A D E L P H I A
PRESENT

FINAL DRESS REHEARSAL

A P R I L 2 6 , 2 017 | 2 : 0 0 P. M .
ACADEMY OF MUSIC

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W E H O P E T H AT YO U
Accept the Challenge...
...to open this book and begin to explore the universal themes that you will find in opera with
your teachers, classmates, and parents. This challenge is like an exploration in which you
examine different issues that people have faced for centuries. It is like taking an adventure
through time and space.

This book is a guide that will connect you to an art form, opera, that may take you outside of
your realm of experiences. The stories and problems in operas have always been part of the
human condition. In an opera, the story is presented in a way that will be different from the
way you are used to experiencing a story. Through the music and the libretto, we hope you
will be able to connect with the plot, the storyline or themes that may have been written in
the 18th, 19th, or 20th century but are still relevant today. During your time of study and
preparation with these materials, there is the expectation that you will be able to connect
something from your exploration of opera to your own personal stories.

Accepting this challenge also provides an opportunity for you to apply what you know to
present day situations and draw conclusions about the effectiveness of the story presentation.
As you work your way through this book, we hope you will be prepared to experience the
opera with a new set of lenses that will afford you the opportunity to analyze, synthesize, and
evaluate what you have learned or experienced during the challenge. Hopefully, you will take
advantage of the opportunity to reflect on your experiences on our Sounds of Learning™ blog.
Through your reflections you will share with others your insights about your journey. Your
reflections will also help us modify and adjust our program materials for future audiences and
students.

We hope you will accept this challenge, and join other students who are taking the journey to
make connections between the past and the present in order to impact the future!

I accept the challenge

G O A L S A N D O B J E C T I V E S of Sounds of Learning ™

Connect with the plot or themes

Connect something from your exploration of opera to your own personal stories
Draw conclusions about the effectiveness of the story presentation
Experience the opera with an open mind
Analyze, synthesize, and evaluate what you have learned or experienced during the challenge
Use the Sounds of Learning™ blog to reflect on your experience and provide insights about your
journey

Best Practices in Arts Education is sponsored by

Pennsylvania Alliance for Arts Education,
Pennsylvania Council on the Arts
and the Pennsylvania Department of Education
TA B L E O F
Contents
GET TING READY FOR THE OPERA
The Then and Now of Opera 2
Philadelphia’s Academy of Music 4
Opera Etiquette 5
The Language of Opera 6
Theater Anatomy 7
Operatic Voice Types 8
So You Want to Sing Like an Opera Singer? 9

R E L AT I N G O P E R A T O H I ST O R Y
The Man Behind the Music: W.A. Mozart 10
The Man Behind the Text: Lorenzo Da Ponte 11
The Comedy in Politics 12
Beaumarchais, the Revolutionist 14

L I B R E T T O & P R O D U C T I O N I N F O R M AT I O N
The Marriage of Figaro: Cast and Creative Team 15
Inside the Design of The Marriage of Figaro 16
The Marriage of Figaro: Libretto 17
Meet The Artists 48

CLASSROOM ACTIVITIES
Plot the Action of The Marriage of Figaro 50
Character Pyramid 51
Act the Story Using Tableaus 52
En travesti: Trouser Roles Past and Present 53
What's the Score? 54
The Overture of The Marriage of Figaro 55
Writing a Review of the Opera 56
Making a Synopsis 57
2016-2017 Season Subscriptions 58
Invest in Grand Opera! 59

Glossary 60

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 THE THEN AND NOW
of Opera

Have you ever wondered where opera got its

start? Back in the late 1500s, during a period
of time known as the Renaissance (1400–
1600), a group of men called the Florentine
Camerata got together to try to recreate the
legendary dramas of ancient Greece. In the
end, they created a new theatrical experience
called opera! Most early operas were based
on Greek myths. The oldest opera for which
the music survives was Claudio Monteverdi’s
L'Orfeo, written in 1607. This opera Morris Robinson as the Grand Inquisitor and Eric Owens as
included many important elements: songs, King Phillip in Verdi’s Don Carlo.
Photo: Kelly & Massa Photography
instrumental accompaniments, costumes,
dance, and scenery. Amazingly, we still use were talking about new forms of government
all of these items today! and organization in society, especially the
ever-growing middle class. Music changed
during this period and composers dropped
the complicated Baroque musical style and
wrote music that was simpler and more
emotional. One of the first operas to use this
new style was Christoph Willibald Gluck’s
Orfeo ed Euridice (1762).

In 1776, the American Revolution changed

the world. A few years later, the French had
their own revolution (1789) and the first
modern democracies were born. Reflecting
Lisette Oropesa commands the stage in La traviata at Opera Phila- this new way of thinking, audiences wanted
delphia. Photo: Kelly & Massa Photography to see characters like themselves on stage, not
the gods and goddesses portrayed in earlier
Monteverdi’s L'Orfeo was written during the operas. Wolfgang Amadeus Mozart’s The
Baroque period (1600 to 1750). During this Marriage of Figaro (1786) was one of the first
period, operas in the Italian style were so operas to do this. It told a story about social
popular all over Europe that even non-Italian class struggle that had both servants and
composers wrote them. For example, Georg nobility in lead roles.
Frederic Handel (1685–1759) was a German-
born composer who lived and worked in In the 1800s opera continued to grow. The
England. His operas, like Julius Caesar (1724), Italian tradition developed in the bel canto
were written in the Italian language and movement, which means “beautiful singing.”
reflected an Italian style of music. The most famous bel canto composers were
Gioachino Rossini (1792–1868), Gaetano
The eighteenth century was full of change for Donizetti (1797–1848), and Vincenzo Bellini
both Europe and opera. This time period was (1801–1835). Their operas, like Rossini’s
known as the Age of Enlightenment. People popular comedies The Barber of Seville (1816)
and Cinderella (1817), are still some of the
2 most popular operas performed today.
 By the middle of the 19th century, the Philadelphian Jennifer Higdon and based
Romantic Movement led many composers on the book of the same name by Charles
to champion their own national identities. Frazier. Daniel Schnyder and Bridgette
They wrote music that reflected their home A. Wimberly’s 2015 work, Charlie Parker’s
countries. German operas like Carl Maria YARDBIRD, about the tortured jazz
von Weber’s Der Freischütz (1821), Russian saxophonist, was so well received that it
operas like Mikhail Glinka’s A Life for travelled to New York City in April 2016 to
the Tsar (1836), and French operas like become the first opera to ever be produced at
Giacomo Meyerbeer’s Les Huguenots (1836) the famous Apollo Theater in Harlem.
were performed across Europe. In Germany,
Richard Wagner took Romanticism to Although opera is one of the oldest musical
the extreme by composing The Ring of the art forms, it still remains and expands
Nibelung (1876), a series of four operas that today. From the old favorites to the new
takes over 15 hours to perform! experimental works, opera continues to be a
moving art form of the people.

READING COMPREHENSION
• What is the name of the first famous
opera?

• Who are the most famous bel canto

composers?

• Name two operas composed by Rossini.

• Who brought Romanticism to the next

Christine Georkeas the title role in Giacomo Puccini's Turandot. level?
Photo: Kelly & Massa Photography

• What is the name of the composer who

Opera in the 20th century became even more
had her American opera performed at
experimental. Composers like Giacomo Opera Philadelphia in 2016? Where is
Puccini (La bohème, 1896), Claude Debussy she from?
(Pelléas et Mélisande, 1902), Richard Strauss
(Salome, 1905), and Benjamin Britten
(Peter Grimes, 1945) continued to evolve
their national styles. Others, horrified by
the destruction of World War I (1914-1918)
and other aspects of modern life, created
music that was new and drastically dissonant.
Meanwhile, American opera had a huge hit
with George and Ira Gershwin’s Porgy and
Bess (1935) which included the musical styles
of both jazz and blues.

Today, opera is still growing and expanding.

Opera Philadelphia helps to shape the future
of opera by producing important new operas Lawrence Brownlee in Charlie Parker’s YARDBIRD.
like Cold Mountain (2016), composed by Photo: Sof ia Negron

3
 P H I L A D E L P H I A’S AC A D E M Y O F M U S I C

Photo: George Widman

Opera Philadelphia's home, the Academy Canteen, serving refreshments and featuring
of Music, opened in 1857. Opera is only one appearances by entertainers such as Abbott
type of performance shown in the Academy. and Costello, Duke Ellington, and Frank
There are also ballets, concerts, and galas. Sinatra.
The building is a historical monument and
the oldest grand opera house in America still Today, the Academy of Music continues to
used for its original purpose. The Academy entertain people through concerts, operas,
of Music is sometimes called the "The Grand ballets, and more. The wondrous hall
Old Lady of Locust Street." dedicated to the arts has blossomed into the
perfect place for a performance of any kind.
The opera house was initially built with a
plain white exterior as the architects wanted
the beauty to be on the interior, as it was at Academy of Music Facts:
the famous opera house, La Scala, in Italy.
Later, the exterior was revised to look as it • The auditorium seats 2,509; 14
does today. Unlike other performance houses, columns support the Academy’s tiers
the Academy of Music's seating was a 'U' • The red and gold pattern on the
shape. This was for the audience to have the Academy’s stage curtain features a
best view from every angle possible. The pineapple, a Victorian-era symbol for
first opera presented in the brand new opera “welcome.”
house was Giuseppe Verdi’s Il trovatore on • The first-ever indoor football game was
February 25, 1857. held on the Academy’s Parquet level on
March 7, 1889 between the University
The basement of the Academy of Music of Pennsylvania and Riverton Club of
has a history, too. It was used as a dining Princeton.
hall because of its beautiful interior • 1,600 people attended the first-ever
decoration. During World War II, the public motion picture screening on
hall was transformed into the Stage Door February 5, 1870.

4 adapted f rom String Theory School ’s Sounds of

Learning™ iBook
OPERA
Etiquette
By Dan Darigan

AT T E N DI NG T H E OPE R A
There’s nothing as exciting as seeing a For a fun video of what’s expected at the opera,
performance in Philadelphia’s beautiful please visit tinyurl.com/OperaEtiquette.
Academy of Music. If this is your first time at
the opera, there are a few things for which you
should prepare:

You are attending the opera’s final dress

rehearsal, the last chance for performers to
run through the show before opening night.
The goal is to treat this rehearsal exactly like a
performance and to perform the opera straight
through without a pause.

You may notice several computer monitors

and a large table spread out over the Students from Harris Elementary School get ready for the opera.
seats in the center of the first f loor of
the auditorium. Seated in this area is the THE DO'S and DON'TS
production team: Director, Assistant Director,
Costume Designer, Lighting Designer, Set Please Do…
Designer, and others. They’ll take notes and
communicate via headsets with the many • Applaud after the arias; you can shout “Bravo!”
people backstage who help make all of the for men and “Brava!” for the women.
operatic magic happen: Stage Managers, • Use the bathrooms before the rehearsal begins
Master Carpenter, Lighting Technicians, or at intermission.
Stagehands, and others. They’ll be able to give • Be careful in the auditorium! The theater is over
notes so that changes can be instantly made. 150 years old and can be difficult to navigate.
Should things go awry, they may stop and • Turn off your cell phones and all electronic
repeat a section to make sure that it is perfect. devices.
• Obey all directions given by theater ushers and
staff.
OPER A E T IQU E T T E 101
• E njoy the show!
Unlike actors on television or in the movies,
performers on stage are very aware of the
audience. Everything you do in the audience Please Don' t...
affects what happens on stage and behind the • No food, gum, nor beverages are permitted
scenes. Because this is a working rehearsal, inside the theater.
we ask that you please refrain from talking • P hotographs or video footage may not be taken
so that the production team can concentrate during the performance.
on fine-tuning the production. You can show • No talking or whispering during the
the artists how much you appreciate their performance.
work and the opportunity to come to this free
rehearsal by being as quiet as possible.
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 THE LANGUAGE OF
Opera
AC T main section of a play or opera
ARIA a solo song sung in an opera
BALLET dance set to music
BLOCKING action on stage
CHORUS  usic composed for a group of singers; the name of a group of
m
singers in an opera
CONDUC TOR person who rehearses and leads the orchestra
DUET a song performed by two singers
LIBRET TO the text or words in an opera, an opera’s script
ORCH ES T R A a group of musicians who play together on various
musical instruments
OV ERT U R E a piece of instrumental music played at the beginning
of an opera
PROGR A M booklet that contains information about the opera, composer,
performers, the opera company, and includes advertisements
R E C I TAT I V E words that are sung in the rhythm of natural speech
REHEARSAL time when singers/actors practice with or without the orchestra;
time when musicians practice together with the conductor
SCENE segments of action within the acts of an opera

Soprano, Christine Goerke, sings the title

role in Turandot at Opera Philadelphia.
Photo: Kelly & Massa Photography

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T H E AT E R
Anatomy
Opera singers must act on stage as well as sing! This means that they have to understand the
stage layout. When directors rehearse with singers, they must communicate where the singers
should be on stage. Otherwise there could be a big traffic jam! To make everything clear, a
special vocabulary is used. UPSTAGE is the name given to the very back of the stage, away
from the audience, and DOWNSTAGE is at the front, near the audience. STAGE LEF T and
STAGE RIGHT are used to identify the sides of the stage. It is important to know that left
and right are always from the performer's perspective from where they stand on the stage.

You might be wondering why it is called "up" stage and “down” stage. This is because opera sets
are frequently built on an angled platform or “deck” that is lower in the front near the apron
and higher in the back. Thus, the lower end is “downstage” and the higher end is “upstage”.

W
G IN
IN G
W

APRON

ORCHESTR A PIT

VIEW OF THE ACADEMY OF MUSIC STAGE

TAKE YOUR PLACES

Pretend you are on the Academy of Music stage. The director needs you to take your place on
stage. Follow the directions to indicate where you go.

Draw an X on DOWNSTAGE RIGHT Draw an A on UPSTAGE RIGHT

Draw a Y on UPSTAGE LEFT Draw a B on DOWNSTAGE LEFT
Draw a Z on DOWNSTAGE CENTER Draw a C on UPSTAGE CENTER

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 O P E R AT I C
Vo i c e Ty p e s
Have you ever wondered why every person's voice sounds slightly different from each other?
The human voice is a fascinating and complex instrument with many factors that go into
why each person sounds different. The length and strength of the vocal chords, how thick
the vocal chords are, the shape of the nasal passages, mouth, and throat all help to determine
whether your voice will be high or low, bright or warm.

In opera, we've classified the voice into seven main categories of voice types (from highest to
lowest): soprano, mezzo-soprano, contralto, countertenor, tenor, baritone, and bass. Today,
we still use these voice classifications. It is important to know that a person can only know
their true voice type when they become an adult. Sometimes a person's voice type may even
change. The following people have distinguished themselves as leaders of their voice type.
Choose one of these opera singers to research and report back with your friends.

Brenda Rae Maria Callas

soprano soprano
Stephanie Blythe Grace Bumbry
mezzo-soprano mezzo-soprano

Marian Anderson David Daniels

contralto countertenor
Lawrence Brownlee Mario Lanza
tenor tenor

Jarrett Ott Thomas Hampson

baritone baritone
Photo Credits: Brenda Rae - Kristen Hoebermann; David Daniels -
Samuel Ramey Morris Robinson
Simon Pauly; Lawrence Brownlee - Ken Howard; Jarrett Ott - Dario bass bass
8 Acosta; Thomas Hampson - Dario Acosta; Samuel Ramey - Christian
Steiner; Morris Robsinson - Ron Cadiz.
S O Y O U WA N T T O S I N G
Like an Opera Singer?
Singing on the opera stage is very hard work!
Singers are like athletes, constantly training
to perfect their voices. They ask their voices
and bodies to do what most of us without
training can’t do: sing incredibly intricate
and difficult music and project their voices
to be heard over a 60-piece orchestra without
microphones or amplification.

Singing begins with the human voice, a very

versatile instrument. It can produce sounds
that present a wide range of frequencies that
we call pitches.
Our voices are able to change in volume as a TH E SINGING VOIC E
result of the air we exhale from our lungs and AN EXPERIMENT
control with our diaphragm, a muscle right
Materials: Paper Cups, Rubber Band, Paper Clip
behind our stomach that separates the chest
cavity from the abdomen. When we inhale We'll use the materials listed above to
deeply, the diaphragm lowers and the ribs demonstrate how the vocal folds work to make
and stomach expand as the lungs fill with the necessary pitches for speaking and singing.
air. Then the diaphragm forces the air out 1. Make a hole in the bottom of the cups.
when it contracts, causing our vocal folds to 2. C ut rubber bands so that they become long
vibrate. Vocal folds are fibrous bands that are stretches of rubber.
stretched along the two sides of our larynx, 3. P ull on the rubber band so that it vibrates.
or our sound instrument, just below the How does the pitch change? Record your
‘Adam’s apple.’ When we hum, talk, or sing, findings.
air passes through the larynx causing the 4. T ie the rubber band to the paper clip, which
should be larger than the hole in the cup.
vocal folds to vibrate, creating a sound that is The rubber band should act as a plug to the
then shaped by the other parts of our bodies hole. Be sure to tie the knot securely to the
including the mouth, tongue, teeth, and paper clip so that it doesn't slip out and
eject from the cup.
lips. To sing different pitches and volumes,
5. S lide the rubber band through the small
singers must control the flow of air, through hole in the cup and pull it through until the
the vocal folds in our larynx. They practice paper clip catches on the inside bottom of
vocal exercises daily so that they can quickly the cup.
adjust to the demands of the music without 6. P ull on the rubber band again so that it
thinking about it. vibrates a second time. Record your findings.
7. I n comparing the two sounds, what did
you observe after the cup was added to the
To see the vocal folds in action, visit activity?
tinyurl.com/cords-in-action 8. P lace different sized cups into your
experiment and record your findings.
To see how the diaphragm works, visit 9. C over the cup opening with your hand. Pull
tinyurl.com/diaphragmatic-demo on the rubber band. Record your findings.
10. S  ee if you can get your cup to make sounds
like a baby.

9
 THE MAN BEHIND THE MUSIC
Wo l f g a n g A m a d e u s M o z a r t
concertmaster. There, Mozart produced
numerous works, including his Coronation
Mass (1779) and Idomeneo (1779), an
Italian opera that would become his first
great operatic triumph. Mozart’s continued
success caused him to resent his job as a
court organist. He no longer wanted to have
to write music as required by the elite. He
wanted to have a new life, so, in 1781, he once
again left his post at Salzburg.

The year 1782 was fresh start for Mozart. It

was that year when he married Constanze
Born on January 27, 1756 in Salzburg, Weber and completed the opera The
Austria, Wolfgang Amadeus Mozart was Abduction from the Seraglio, which was an
destined for musical greatness. At the age of immediate success. This period of time was
three, Mozart was able to pick out tunes on very productive for Mozart as he met Italian
the piano. By five, he was composing music of librettist Lorenzo da Ponte. Their partnership
his own. Mozart’s father, Leopold, recognized produced three of the most beloved operas
his son’s talents and felt that they needed to of Mozart’s career, the first of which, The
be shared. Leopold soon decided to leave his Marriage of Figaro, premiered in Vienna
position as concertmaster in Salzburg and to in 1786. Don Giovanni and Così fan tutte
take his family on a concert tour of Western followed soon after in 1787 and 1790.
Europe. On this tour, Mozart amazed court
patrons with his performances at the major Despite these successes, Mozart and his wife
musical centers of Europe. lived well beyond their means and were in
constant debt. In 1787, Mozart was appointed
He successfully composed not only his first to the post of Chamber Music Director;
orchestral symphony at age 8, but also his however, the salary did little to lessen the
first opera, La finta semplice, by the age of couple’s financial hardships. In 1791, Mozart
12. These achievements helped gain him was commissioned to compose a score to
the position of honorary Konzertmeister (or Emanuel Schikaneder’s The Magic Flute,
Music Director) at the Salzburg court. which was inspired by the group they were
both members of, the Free Masons. The opera
In 1777, Mozart left Salzburg in hopes premiered in Vienna to large success. Also
of finding an even better job. He traveled in 1791 was the premiere of La clemenza di
throughout Germany but was unsuccessful Tito, which would be the last of Mozart’s 20
in finding a position he liked. The next operas.
year, Mozart continued to Paris, where he
composed his Symphony No. 31, known today In December 5, 1791, Mozart became quite
as The Paris Symphony. ill and he died at the age of 35. Despite his
unquestionable reputation as the greatest
Having still not found a permanent new musical mind of his time, Mozart was buried
position, Mozart decided to return to with little ceremony in an unmarked grave in
Salzburg, a place he knew he would be Vienna, as was legally required for all those
welcomed back as court organist and without noble birth.
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THE MAN BEHIND THE TEXT
Lorenzo Da Ponte
Did you know that Lorenzo Da Ponte,
librettist for three of Mozart's most famous
operas (including The Marriage of Figaro),
lived in Philadelphia between 1811 and 1818?
A native of Italy, Da Ponte immigrated to
the United States from London in 1805. He
settled first in New York City, and became an
American citizen in 1811. Although he never
lost his love for Italy, America gave Da Ponte
a new home and a mission in life: to make
Italy and Italian literature known in the New
World.

A poet, scholar, and teacher, with musical Italian opera company to come to America.
interests as well, Da Ponte arrived in America This company arrived in 1832, giving
with a violin, a trunk of books, and little else. 35 performances in New York and 24 in
He quickly learned that he would not be able Philadelphia at the Chestnut Street Theatre.
to live solely off a career as a poet, so he took However, the opera season was a financial
on several odd jobs as well. In Philadelphia, failure. Da Ponte insisted that the chief
these jobs included opening a millinery problem had been the lack of a proper theatre,
store (a store specializing in women's hats) an "Italian opera house." So once again the
on 29 North 2nd Street, and operating a old man went to work, raising $150,000 for
delivery wagon which ran between Sunbury, the construction of New York's Italian Opera
PA and Philadelphia. Da Ponte dreamed House, the first building in the United States
of introducing Italian opera to the city. designed exclusively for opera. The opera
However, after the War of 1812, English house opened in 1833 and presented two
opera became so popular that Philadelphians seasons of opera before being sold in 1836 to
were disinterested in other kinds of opera. new owners.
Da Ponte moved back to New York City
in 1819, and worked at a bookstore where In 1838, at age 89, Da Ponte died. He was
he came to know poet Henry Wadsworth buried in a New York Catholic cemetery,
Longfellow and Clement Moore, author with his countrymen intending to build
of the children’s classic The Night Before a monument in his memory. In 1887, to
Christmas. Partially through the influence of celebrate the hundredth anniversary of the
his new friends, he became the first professor first performance of Don Giovanni, several
of Italian at Columbia College (now Americans searched for the old cemetery
Columbia University) in 1825. where Da Ponte had been buried, only to find
it had been paved over and all its records lost.
The first performance of Da Ponte and It is unfortunate that someone who tried so
Mozart's Italian version of Don Giovanni hard to enrich the cultural life of his adopted
was finally presented on an American stage country should lie, like his most famous
on May 23, 1826. Not only was Da Ponte collaborator Mozart, in an unmarked grave.
present at the performance, but he was largely Yet, both Da Ponte and Mozart have eternal
responsible for raising the money to pay monuments in the three great operas born of
the singers' salaries. In 1829, at age 80, Da their mutual creativity.
Ponte began making arrangements for an
11
 THE COMEDY IN POLITICS
A n a l y z i n g t h e Pa s t a n d P r e s e n t
By Deborah Bambino

“…Something for everyone, a comedy

tonight!” proclaims Pseudolus, a slave in
Stephen Sondheim’s 1962 musical, A Funny
Thing Happened on the Way to the Forum.
With these words, Pseudolus, invites the
audience to sit back, relax, and enjoy the
entertainment. All comedy is designed to
make us laugh. Good comedy often gets us
to laugh at ourselves. Great comedy uses
humor to make fun, not only of individuals,
but of groups and social institutions that
hold power over others. Comics can make us A caricature of Yekaterinburg city manager, Aleksandr
Yakob, which prompted the pothole-portrait protests.
stop and think. They question the status quo Photo: The Guardian, Itar-Tass
and often hold our leaders, their statements,
and actions, up for a closer examination, an • In Cambodia, human rights activists
examination that sometimes exposes them in protested the ongoing evictions and
a ridiculous light. widespread arrests of citizens with a
“Gangnam Style” choreographed dance
In ancient Greece, comedy was defined as a and song on Human Rights Day.
struggle between two groups, the young and
the old, the powerful and the powerless. Like These activists are using humor to shake
the late night talk show hosts of our time, the things up and promote change, with a wink
early comics had an impact on public opinion, and a smile.
and influenced the way the public voted.
In the United States, comedians use their
Today, on social media, there is an explosion films, stand-up routines, and sitcoms to
of the use of humor to expose the hypocrisy, question race relations and the divide between
behavior, and policies of the ruling elite. the “haves and have nots” in our society.
Around the world, activists and everyday Whether it is a Key and Peele sketch about
citizens anonymously take aim at the world’s a substitute teacher who sees no need to
current leaders. Here are just a few examples pronounce the names of his high school
documented on New Tactics in Human Rights students correctly, or a host like Trevor
(newtactics.org). Noah, who interviews high profile individuals
on The Daily Show, comics use everyday
• In Australia, some anti-nuclear activists situations to expose the rifts in our racially
presented an American warship with an and economically divided society.
outstanding parking violation in one of
their harbors. Black-ish, a popular comedy on ABC about a
suburban African American family, contrasts
• In Russia, artist-activists turned potholes the views and experiences of an upwardly
into paintings of their local leaders, who mobile couple and their children with those
had failed to repair their streets. of the couple's working class parents. The

12
show questions what it means to be black and authorize the play’s production. It took three
successful today. In a recent episode, Dre, the years, a private performance, and further
father at the center of the show, affirmed his editing before the play was staged for the
love for this country, even though he was clear public in France, where it was a popular hit.
the country doesn’t always love him back.
Three years later in Vienna, Mozart and
Recent ensemble comedy Barbershop: Next his librettist began the work of translating
Cut address issues like gang violence and Beaumarchais’s play into an opera. In 1786,
recognize the community’s need to organize Mozart’s comic opera, The Marriage of
and solve its problems, given the ongoing Figaro had its premier at the Burgtheater.
neglect of the inner city by local and national In Mozart’s version, Figaro is no longer a
government officials. frustrated revolutionary thinker. He has
been reduced to a clever servant motivated
When these real problems air as part of a by jealousy and a desire to protect the honor
sitcom or a witty interview on a nationally of his fiancée Susanna's honor from the
televised program, it enhances their potential lecherous clutches of his adulterous master. In
to become part of popular conversation. every scene, Figaro is still able to outwit his
These shows are part of the mainstream, they master, the Count Almaviva, but his soliloquy
are viewed across ages and races, and therein is now limited to the repeated refrain, “you
lies their power to change the ways we think may go dancing, but I’ ll call the tune…”
about and talk with each other.
The overall power of the Count and the
Opera buffa, or comic opera, is part of these aristocracy is no longer in question. The
same comedic traditions. The issues in these tale becomes a madcap romantic comedy of
comic operas may seem tame by today’s manners with twists and turns, alliances and
standards, but when they were written they disguises, all designed to protect Susanna’s
represented a real challenge to the powers virtue while reigniting Count Almaviva’s love
of the land. The Marriage of Figaro, a play for his wife, the Countess. Throughout the
originally written in 1781 by a Frenchman, piece, Figaro, with the help of Susanna and
Pierre Beaumarchais, featured this soliloquy the Countess, manages to outsmart the Count
by the title character: until the befuddled “master” sings along with
the full company that, “ love alone has won
Nobility, fortune, rank, position! How proud the day,” and turns to join in the marriage
they make a man feel! What have you done to celebration of Figaro and Susanna. The Count
deserve such advantages? Put yourself to the is still in charge, but Figaro has won the day.
trouble of being born—nothing more! For the
rest—a very ordinary man! Whereas I, lost
among the obscure crowd, have had to deploy
more knowledge, more calculation and skill
merely to survive than has sufficed to rule all
the provinces of Spain for a century!

In the original, the author makes it clear

that he believes the humble barber, Figaro,
is the better man. In an effort to get around
the censors of his time, Beaumarchais set
the story in Spain, not his native France. But
simply changing the setting was not enough
as the King was still shocked and would not
13
 B E A U M A R C H A I S , T H E R E V O L U T I O N I ST

By Vincent Renou

What if Hamilton, the celebrated Broadway

musical about America’s founding fathers,
needed to add a new character that lived
during the American Revolution and who
had an incredibly remarkable life? The answer
would arguably have to be Pierre-Augustin
Caron de Beaumarchais, the original author
of The Marriage of Figaro.

Beaumarchais was a watchmaker, inventor,

playwright, musician, diplomat, spy,
publisher, arms-dealer, financier, and
Public Woman) a document that if made
revolutionary (both French and American).
public would damage the honor of the King's
Beaumarchais was clearly a jack-of-all-trades.
mistress. Beaumarchais succeeded in securing
Figaro, like Beaumarchais, was a man of
the pamphlet and destroyed it immediately.
modest birth who always found a way of
being surrounded by rich and members of the
Beaumarchais was also instrumental in
powerful upper class.
urging the French government to support the
American Revolution. His visits to England
While Beaumarchais is known today
made him aware of growing conflict with
primarily as the author of the “Figaro”
the United States. He sided entirely with
plays, he was a celebrity of his time, before
the United States and decided to persuade
even writing a single word. He learned
the French government into supporting the
how to make watches from his watchmaker
colonial rebels. Because of Beaumarchais'
father and, at age 21, invented a new watch
efforts, France would soon send 40 boats to
mechanism that would later be stolen by
bring aid to the United States.
France’s royal clockmaker. Beaumarchais
challenged the thief in court for stealing his
Around the same time, Beaumarchais’ literary
idea and won. This was Beaumarchais' first
career began with Eugenié (1767), a play that
claim to fame. He challenged the elite and
would become a total failure. In 1775, his The
won! His continued success as a watchmaker
Barber of Seville – which Gioacchino Rossini
would eventually earn him the title of royal
would set as a comic opera in 1813 - would
watchmaker for King Louis XV and his
bring him instant acclaim. His next success,
successor, Louis XVI. Both were amazed by
The Marriage of Figaro, which brought to
his many talents, especially as a musician. He
light his many struggles with aristocracy,
would become music teacher to the King’s
would appear on stage in 1784.
four daughters and soon after court music
director.
Beaumarchais had a talent for being in the
right place at the right time. However, his
Given that he had the King’s trust,
luck would soon come to an end when, in
Beaumarchais was sent on several missions
1799, he died at the age of 67. With such an
as a spy. One mission sent him to England
adventurous life, don’t you think it would
where he was to destroy the Mémoires secrets
make a great plot for a future opera?
14 d'une femme publique (Secret Stories from a
THE MARRIAGE OF FIGARO
C a s t a n d C r e a t i v e Te a m
Final Dress Rehearsal–Wednesday, April 26, 2017, 2:00 p.m. at the Academy of Music. Music by Wolfgang Amadeus
Mozart. Libretto by Lorenzo Da Ponte. Performed in Italian with English supertitles.

C O U N T A L M AV I VA C O U N T E S S A L M AV I VA F IGA RO
John Chest* Layla Claire* Brandon Cedel
baritone soprano baritone

SUSANNA CHERU BI NO BARTOLO

Ying Fang* Cecelia Hall Patrick Carfizzi*
soprano mezzo-soprano bass-baritone

M A RCELLI NA DON BA SILIO & DON CUR ZIO

Lucy Schaufer* Christopher Gillett*
mezzo-soprano tenor

B A R B A R I N A Ashley Milanese*
A N T O N I O Thomas Shivone
B R I D E S M A I D S Amy Spencer, Maren Montalbano
C O N D U C T O R Corrado Rovaris
D I R E C T O R Stephen Lawless
A S S I S T A N T D I R E C T O R Sean Eric Fogel*
S E T & C O S T U M E D E S I G N Leslie Travers*
L I G H T I N G D E S I G N Thomas Hase*
C H O R U S M A S T E R Elizabeth Braden
*Opera Philadelphia debut 15
 INSIDE THE DESIGN
of The Marriage of Figaro

Leslie Travers
The Marriage of Figaro
Costume and Set Designer
Count Almaviva Countess Almaviva Figaro Susanna

When designing the set for The Marriage of Figaro, Leslie Travers wanted to first create a
world that focuses on the ever-changing life of Count Almaviva. Most of the beginning of
the opera is set in the grand old house of Count Almaviva. While you might expect the house
of a count to be bright and elegant, Travers chose to give this estate a visual sense of decay to
represent how things in the Count's life have reached a bit of disorder. The costumes Travers
designed also serve a similar purpose. Travers uses color as one way to reflect the journey of
each character. For example, when the Count comes out at the very beginning of the opera,
he is in very bright, solid colors to represent power and strength. However, as the opera
progresses these colors begin to fade and symbolize the Count's crumbling world.
To learn more about Travers' design for The Marriage of Figaro, visit the links below.

Walking Down the Aisle:

The Set of
The Marriage of Figaro

tinyurl.com/figarocostumes

Say Yes to the Dress:

The Costumes of
The Marriage of Figaro

tinyurl.com/figaroset
16
THE MARRIAGE OF FIGARO
Libretto
ACT ONE SUSANNA I have reasons enough.
Scene 1
FIGARO I can’t believe it. How can you deny
An incompletely furnished room, with an armchair in
the gift of this room when it’s the best spot in the
the middle. Figaro has a ruler in his hand, Susanna is
palace?
seated at a mirror, trying on a small, flowered hat.

SUSANNA Because I’m Susanna and you’re a

FIGARO Fifteen, sixteen, twenty, thirty, thirty-
half-wit!
seven by forty-three.

FIGARO Flattery will get you nowhere. But,

SUSANNA Oh, this hat is simply lovely,
Susanetta, see if you can find a bedroom which
everything a hat should be. Take a look, my
is better. Supposing one evening the Countess
darling Figaro. I will wear it at the wedding.
should need you. Ding ding! Then she won’t
have to ring more than twice. And then it might
FIGARO It will make a great sensation:
happen my master should want me. Dong dong!
everything a hat should be.
I’d be there by his side in no time.
SUSANNA Look, my love.
SUSANNA Supposing one morning, our sweet
little Count were to call you. Ding ding! And to
FIGARO Yes, I’ve seen it. And yes, it’s charming.
send you a long way away. Ding ding! If he wants
me he knows where to find me; he’ll be there
SUSANNA We will make a lovely couple when
behind me.
the knot is tied.

FIGARO Take care what you say.

SUSANNA, FIGARO Yes, it is our wedding
morning, and to crown all the joy we are sharing,
SUSANNA Listen, if you want the story, then
your/my Susanna will be wearing such a beautiful
don’t be suspicious – it’s grossly unfair.
hat for a bride.

FIGARO I do want the story: my nagging

SUSANNA I’m so clever. What on earth are you
suspicions are too much to bear.
measuring, my darling Figaretto?

SUSANNA All right, shut up and listen. Our

FIGARO I’m seeing if the bed that the Count
noble Count, weary of chasing all the pretty
said he’ll give us would fit inside our beautiful
girls in the neighborhood, has decided to try his
new home.
luck just a bit nearer home. And it’s not with his
wife the Countess, more’s the pity. He’s lost his
SUSANNA Don't you mean this room?
appetite for her.
FIGARO Certainly, and it’s a very generous gift
FIGARO Well then, who is it?
from his lordship.

SUSANNA It’s your very own Susanna! Who

SUSANNA You can sleep on your own then!
else? And when he needs me he won’t have far to
wander. Proximity makes the heart grow fonder.
FIGARO Why so unreasonable?

17
 FIGARO Bravo! I get the picture.

SUSANNA So much for all his charity and all his

kindness, so attentive to our every need.

FIGARO Oh yes, I see. That’s charity indeed!

SUSANNA Wait a bit, it gets better. Don Basilio,

who teaches me singing, acts as his agent, so
instead of singing pretty phrases he only sings
his master’s praises. And you imagine that it
was thanks to your good looks that I got such a
handsome dowry?

FIGARO I hoped I had a hand in it.

SUSANNA Well, so did he, and soon he’ll want

to get his hands on me, to claim his power.

FIGARO Never! I thought he’d abolished that Figaro and Susanna get ready for their wedding day
shameful tradition. in their new room in the palace.
Photo: Dana Sohm / Lyric Opera Kansas City
SUSANNA He regrets the abolition and now he’s
keen to reinstate it with me. and running, ducking and weaving. He may be
clever but he’s met his match. I can undo any
FIGARO Splendid! That’s perfect! So, Count scheme he can hatch. So, little master, you’re
Almaviva, you are looking for some fun? We can dressed to go dancing; dressed in your best to go
provide it… (Bell rings from the Countess) Who’s strutting and prancing. I’ll put an end to your fun
ringing? It’s your mistress. pretty soon; you may go dancing but I’ll call the
tune, yes, I’ll call the tune.
SUSANNA No time for a farewell kiss, I must be
running. (Figaro exits, Bartolo and Marcellina enter.)

FIGARO Be brave, my dearest darling. BARTOLO But why did you wait till the day of
the wedding to appoint me your adviser?
(Susanna exits.)
MARCELLINA I’m very confident, dear doctor,
FIGARO Bravo, my lord and master! Now I’m you can break up any couple, even at the altar:
beginning to see how you’ve planned it. It’s all all you need is the right information. I happen
very simple when you start to understand it. We’re to have it here. According to this contract he
off to London, you as minister, me as messenger, must pay back my money or else…. Listen, only
and my Susanna to help and support you. Well, Susanna stands in our way. We must be certain
if that’s what you’re up to, Figaro has caught you! that she continues to reject the Count’s advances.
So, little master, you’re dressed to go dancing. I’ll He’ll want to get his own back, so he’ll act in my
put an end to your fun pretty soon. If you want favor and Figaro will have to be my husband.
dancing, I’ll be your master; faster and faster,
dance till you drop. You’ll see, Figaro, be careful! BARTOLO Splendid, delighted to help. You
Stay under cover, then you’ll discover what he’s will instruct me. (I’d be delighted to fob him off
about. I will be cunning, slyly deceiving, cutting with my old housemaid Marcellina, as revenge
18
for robbing me of my Rosina!) Now for glorious MARCELLINA Your quality…
vengeance! Vengeance has the sweetest flavor. He
who lets a crime go unpunished is twice as guilty. SUSANNA Quantity…
I will beat him, I’ll unseat him, I will fight him
and defeat him. Yes, I swear I will beat him, it MARCELLINA Your status.
won’t be easy, but I’m sure to win the case. If I can
outwit him with some ambiguity, where there’s a SUSANNA Your age!
will there must be a way. I’m Doctor Bartolo! That
bastard Figaro, I’ll make him pay. MARCELLINA Oh, this is unbearable! I’m
bursting with rage!
(Bartolo exits, Susanna enters.)
SUSANNA You gaudy old parakeet, go back in
MARCELLINA (So all is not lost, I can still live your cage!
in hope. If it isn’t Susanna! Let’s test the water…
Pretend I haven’t seen her…) (In a loud voice for (Marcellina exits.)
Susanna to hear) So that’s the little jewel Figaro
thinks he’ll marry! SUSANNA Good riddance, you old spinster,
frustrated old schoolmarm! Just because you
SUSANNA (to herself) What’s that she’s saying? taught my lady, don’t start thinking you can
lord it over me.
MARCELLINA You’d think he could do better,
but you know the old proverb: Money is all. (Cherubino enters.)

SUSANNA (confronting Marcellina) How dare CHERUBINO Oh, thank heavens it’s you.
you! Who would waste a nickel on you!
SUSANNA It’s me. What do you want?
MARCELLINA Well done! The fair Susanna
– such an innocent manner, so demure and so CHERUBINO The Count! Yesterday he caught
proper, so virginal… me alone with Barbarina; he dismissed me on the
spot, and if the Countess, my beautiful Countess,
SUSANNA I’d better go. doesn’t plead for my reinstatement then I am done
for. Ah, never more to see my dear Susanna!
MARCELLINA I’d better stop her! I bow to
your grace – after you, I implore you. SUSANNA Never more to see me? Typical! What
about your passion for the Countess? You used to
SUSANNA But I know my place so I won’t go worship her.
before you.
CHERUBINO Ah! If only I dared to come near
SUSANNA, MARCELLINA I know what is her! You’re so lucky, you see her whenever you
proper to say and to do. want to: you dress her in the morning, undress her
in the evening, always fiddling with her ribbons
MARCELLINA The spotless madonna. and her laces…. Can’t we swap places? What’s
that? Let me see it!
SUSANNA The matron of honor.
SUSANNA Ah, that’s a ribbon from her favorite
MARCELLINA The Count’s little treasure. bonnet, the one she goes to bed in.

SUSANNA The lady of pleasure. CHERUBINO (snatching the ribbon) Oh, give it
me, I beg you; give it for pity’s sake!
19
 SUSANNA Give it back! SUSANNA May I say something?

CHERUBINO (covering the ribbon with kisses) COUNT Say it, my darling, for you must claim
O sweetest, o fairest, o most divine of ribbons! I the rights which are yours today and always. Ask
will wear it till the day I die! me, compel me, command me.

SUSANNA That’s disgraceful behavior! SUSANNA What do you mean by rights? I don’t
claim them, I don’t want them, I don’t expect
CHERUBINO Now don’t be angry, I’ve them. I’m so unhappy!
something here for you: a little song I’ve been
writing. COUNT Ah yes, Susanna, but I can make you
happy! You know how much I love you – at least
SUSANNA What am I supposed to do with it? I’m sure Basilio has told you. If you’d grant
me a moment’s bliss in the garden later on this
CHERUBINO Read it to the Countess, read it evening… you would see that I know how to be
to yourself, to Barbarina, Marcellina – to every grateful.
woman in the palace.
BASILIO (offstage) I think he’s just gone out.
SUSANNA Poor little Cherubino, have you gone
mad? COUNT Who’s that?

CHERUBINO I don’t know what it is that I’m SUSANNA Oh heavens!

feeling, why my brain and my senses are reeling;
every woman I see makes me tremble with COUNT Go out there – send them away! I'll hide
pleasure and pain. Speak of love and my heart is behind the chair.
a-flutter, say the word and I turn into butter. All
through the day I’m yearning, all through the SUSANNA Oh no, it’s useless!
night I’m burning; I serenade the mountains, the
trees, the glade, the fountains, so all the world (The Count hides behind the chair as Cherubino runs
can share it. And then the breeze may bear it into round to hide in it; Susanna covers Cherubino with a
the wide unknown. And when there’s no one near sheet. Basilio enters.)
me, no, not a soul to hear me, I sing it all alone.
(Cherubino sees the Count) Now I’m done for! BASILIO Susanna, heaven bless you! I suppose
you wouldn’t have seen the Count?
SUSANNA What’s the matter?
SUSANNA And why should I have seen the
CHERUBINO It’s the Count! What shall I do? Count? Sorry, can’t help you.

(Cherubino hides. The Count enters.) BASILIO Just a moment, it seems that Figaro
wants to see him.
COUNT Susanna, you are looking rather nervous
and flustered. SUSANNA (Oh heavens!) To see the man who
hates him more than you do.
SUSANNA My lord, I beg your pardon, but, if
someone should see us – I beg you leave at once. COUNT (Let’s see if he betrays me.)

COUNT I’ll leave when I’m ready. Listen, you BASILIO Well, that’s a thing I’ve never heard
know the King has appointed me ambassador to before, that if you love someone’s wife you have
London. I have decided Figaro will go with me. to hate the husband. Which is to say his lordship
20 loves you.
SUSANNA How vile to be the agent of another BASILIO, COUNT Ah, the little darling's
man’s lust! I spit on your sermons, they mean fainted.
nothing to me. I don’t want the Count, I don’t
want his love. BASILIO (approaching the armchair to sit Susanna
down in it) Sit here, you’ll feel much better.
BASILIO Well, suit yourself then. When it
comes to a lover you’d prefer someone fine and SUSANNA Ah, where am I? Ah, how dare you!
aristocratic to some page boy in the attic! Go away and let me be, oh go away and let me be!

SUSANNA Cherubino? BASILIO, COUNT Do not worry, I will not

hurt you, and your virtue is safe with me.
BASILIO Yes, Cherubino, our little household
Cupid. I saw him here this morning, he was BASILIO Cherubino’s reputation is merely gossip
sniffing round your doorway; very stupid. and speculation.

SUSANNA You’re disgusting, spying on all the SUSANNA Pure invention, pay no attention;
servants! not a word of it is true.

BASILIO I don’t think I’m disgusting, I’m just COUNT Find him, find the dirty rascal!
observant! And what about that love song? I
wouldn’t want to pry, but I’m your friend, I can SUSANNA, BASILIO Ah, forgive him!
keep a secret. Was it for you or for my lady?
SUSANNA, BASILIO He’s a baby!
SUSANNA (Whoever could have told him?)
COUNT He’s a baby? That may be but I know
BASILIO By the way, you should teach him to much more than you. He’s a baby; not as much as
behave more discreetly; that rather frank way you might think.
he stares at her at meal times, devouring her
completely. I hope the Count hasn’t noticed. You SUSANNA, BASILIO Tell us! What?
know what he’s like: a tiger when he is roused…
COUNT It happened yesterday. Barbarina’s door
SUSANNA You snake! Spreading gossip and was locked so I knock, then she opens it, blushing
inventing iniquitous rumors! rather sweetly; this arouses my suspicions, so I
search the room completely. Then I gently raise
BASILIO No, you misjudge me. I’m very strict the cover from the table and then discover that
with rumors: I repeat what people are saying, I damned pageboy…(discovering Cherubino under the
never embellish. sheet covering the chair) I don’t believe it!

COUNT (emerging) Really? And what are people SUSANNA Heavens, how frightful!
saying? It’s outrageous! Search the castle, find the
rascal and bring him here. BASILIO Ah, how delightful!

BASILIO My intrusion brought confusion, I’m COUNT Oh, the virtuous Susanna!
not wanted, I’ll disappear.
SUSANNA It’s the worst that could have
COUNT Go and find him, the rascal! happened. God in heav’n, what shall I do? It’s the
worst that could have happened.
SUSANNA (fainting) I am ruined, I am done for,
I am faint with pain and fear!
21
 The vassals honor the Count in Susanna and Figaro's bedroom.
Photo: Dana Sohm / Lyric Opera Kansas City

BASILIO That’s the way with pretty women, her CHERUBINO Then I ran round the front and
behavior’s nothing new. hid inside it.

COUNT Now I see that it was true. Oh, the COUNT My God! He’s heard every word of our
virtuous Susanna! Basilio, run and tell Figaro to conversation!
come here. (indicating Cherubino) I want him to
see this. CHERUBINO I tried to hear as little as possible.

SUSANNA And I want him to hear this; go BASILIO Be careful, someone’s coming.
quickly!
COUNT (pulling Cherubino out of the armchair)
COUNT One moment. Why so fearless? You’re And you, you little snake – I’ll deal with you later!
plainly guilty, so let’s hear your excuses.
(Figaro and vassals enter.)
SUSANNA Virtue like mine needs no excuses.
VASSALS Praise and adore him, bow down
COUNT But how long had he been here? before him, mighty and merciful, our noble lord.
He has protected, he has respected this fairest
SUSANNA He was already here when you flower of all womankind. Honor and virtue
entered; he’d come to beg me to intercede with sweetly combined.
my lady on his behalf. He was alarmed by your
sudden intrusion so he hid by the chair in his COUNT (to Figaro) So what is all this nonsense?
confusion.
FIGARO (to Susanna) (Here’s where the fun
COUNT But I sat in the chair when I came in! starts. Think quickly, my Susanna.)

CHERUBINO I ran round the back and hid SUSANNA (We haven’t a hope.)
behind it.
FIGARO My lord, in our own humble way we
COUNT And when I went behind it? bring a fitting tribute to your enlightened attitude;
we wish to express our gratitude for not enforcing
22
the rights of long ago.
COUNT Those rights have been abolished, as SUSANNA He is only a baby.
well you know.
COUNT Well, he’s growing up fast.
FIGARO And we are the first to reap the fruit
of your enlightened position. To celebrate the CHERUBINO I’ve behaved very badly; but I
passing of this tradition, will you present this can keep a secret…
white and spotless garment? It was made to adorn
the pure Susanna, as a symbol of her virtue and of COUNT All right, I will pardon you – and I will
her honor. go one better: there is a vacancy for an officer in
my regiment. You’ve got the job, congratulations,
COUNT (He’s cunning as the devil! I can hardly leave at once!
refuse). I’m very grateful for this thoughtful
gesture, but I’m hardly worthy to receive such an SUSANNA, FIGARO Please let him stay today!
honor. When I abolished that shameful tradition I
was merely restoring natural order. COUNT Those are my orders!

ALL Hurrah! CHERUBINO My lord and master speaks, and

I obey.
SUSANNA What restraint!
COUNT For the very last time you may kiss your
FIGARO And what virtue! Susanna. (Well, that was rather brilliant!)

COUNT As I have promised I’ll perform the FIGARO Hey, gallant soldier, one final embrace.
marriage ceremony, but first let me crave your (softly, to Cherubino) (I need a word with you
indulgence: give me time to gather my faithful before you go.) Farewell, dear little Cherubino.
subjects, so our jubilation and your joy will be all Say goodbye to the past, look to the future!
the greater. (I must find Marcellina.) My friends, Here’s an end to your life as a rover, here’s an
till later. end to the young Casanova. It was fun for a
while, but it’s over; we will soon wipe the smile
(Vassals exit.) off your face. Here’s an end to our proud little
peacock, scrubbed and powdered and primped
FIGARO, SUSANNA, BASILIO God bless to perfection. Here’s an end to your girlish
you! complexion, to your ribbons and satins and lace.
We will soon wipe the smile off your face. Off
FIGARO (to Cherubino) Why aren’t you joining you go to join the fighting! You may find it quite
in? exciting. Wearing armor may not suit you, but it’s
handy when they shoot you. All around you the
SUSANNA He doesn’t feel like singing because battle rages; think of fame, not of the wages. After
the Count has dismissed him. twenty days of marching you will wish that you
were dead, and all the trumpeting and drumming
FIGARO What? Today of all days! When the means the enemy is coming, and the bullets will
world is rejoicing! be humming all around your pretty head. Here’s
an end to airs and graces, pretty hats, pretty laces.
SUSANNA On the day of our wedding! You may live to tell the story and I rather hope
you do, for it’s off to death and glory, it’s a soldier’s
CHERUBINO Your lordship, please forgive me. life for you.

COUNT You don’t deserve it.

23
 husbands – they’re unfaithful on principle, by
nature capricious. It’s only pride that makes them
all jealous. But if Figaro loves you...

(Figaro enters.)

FIGARO La la la la la…

SUSANNA Here he is. Come and help us. My

lady is anxious.

FIGARO No need to worry, it’s all going

smoothly and this is the position: it seems that
his lordship has intentions towards my Susanna;
with cunning deceit he hopes to reinstate his
traditional rights. The whole thing’s very possible
and very natural.

COUNTESS, SUSANNA Possible? Natural?

The Countess laments the loss of her husband's love. FIGARO Perfectly natural! And if Susanna
Photo: Dana Sohm / Lyric Opera Kansas City wants it, perfectly possible.

SUSANNA Will you get to the point.

ACT TWO
FIGARO This is the point. When he goes off
Scene one
to London, he’ll take me as his courier and my
A luxurious room with an alcove and three doors.
Susanna as his personal assistant for his personal
enjoyment. And when Susanna refuses this offer
COUNTESS Hear my prayer, humbly I beg you,
of employment, then he’ll threaten to support
soothe my sorrow, my lonely sigh. Oh, may his
Marcellina. That is all there is to say.
love be reawakened, or let me die. Hear my prayer,
I humbly beg you, soothe my sorrow, heed my cry.
SUSANNA How can you take the whole thing so
(Susanna enters) Come here, dear Susanna, and
lightly? It’s a serious matter.
finish your story.
FIGARO I may be joking, but I’m taking it
SUSANNA No more to tell you.
seriously. Here’s how I'll plan it: I’m going to send
the Count an anonymous letter, via Don Basilio,
COUNTESS But he tried to seduce you.
informing him of a secret affair, that tonight while
we’re feasting you’ll be meeting a lover.
SUSANNA No, not exactly; he wouldn’t waste
compliments on a girl of my position. It was more
COUNTESS Oh no, you mustn’t! You know he’s
a financial proposition.
so jealous!

COUNTESS You see, he no longer loves me.

FIGARO So much the better.

SUSANNA Then why on earth is he jealous?

SUSANNA But we still have to deal with
Marcellina.
COUNTESS That is the way with all modern

24
FIGARO I want you to tell his lordship that this COUNTESS Take my guitar, Susanna, and play
evening he’s to meet you in the garden; and little it with him.
Cherubino, if he’s taken my advice he won’t have
left yet. We’ll dress him as a woman, then he CHERUBINO But will my lady accept this
can take your place in the garden; the Count will humble gift I’m bringing?
relent – he’ll have to, of course, for when Madama
finds him in the grounds she’ll have grounds for SUSANNA Of course she will, of course; stop
divorce. talking and start singing.

COUNTESS What d’you think? It’s very risky… CHERUBINO Tell me what love is; what can
it be? What is this yearning burning in me? Can
SUSANNA It might work. If we can convince I survive it, will I endure? This is my sickness;
him… but we must hurry. is there a cure? First this obsession seizing my
brain, starting in passion, ending in pain; I start
FIGARO His lordship’s out hunting, and won’t to shiver, then I’m on fire, then I’m a-quiver with
be back for an hour or two. I’m off now; I’ll send seething desire. Who knows the secret, who holds
Cherubino straight to you. When he comes you the key? I long for something – what can it be?
can dress him. I’ll put an end to your fun pretty My brain is reeling; I wonder why. And then the
soon; you may go dancing but I’ll call the tune. feeling I’m going to die. By day it haunts me,
haunts me by night, this tender torment tinged
(Figaro exits.) with delight.

COUNTESS How it grieves me, Susanna, to COUNTESS Bravo, your voice is lovely! I never
think that Cherubino heard all that nonsense knew that you could sing so sweetly.
my husband has told you. Ah, you can’t know…
Why didn’t Cherubino come to me for protection? SUSANNA Oh, he’s so good at anything he
Where’s the song he gave you? chooses to do. Come along, handsome soldier –
has Figaro explained?
SUSANNA Here it is. As soon as he comes in
let’s make him sing it. Quiet, someone’s coming. CHERUBINO Yes, he’s explained.
It’s him! (Cherubino enters.) Look who it is, it’s our
handsome young officer! SUSANNA Then let me have a look; oh yes,
that’s perfect, you’re the same height as me. Take
CHERUBINO Ah, do not call me by that hateful your coat off.
title. It just reminds me that I am forced to leave
her, my Countess Almaviva. COUNTESS What are you doing?

SUSANNA Isn’t she lovely? SUSANNA Don’t be nervous.

CHERUBINO Ah yes, she is! COUNTESS But someone might come in.

SUSANNA (mocking Cherubino) Ah yes, she is! SUSANNA Let them. It’s not illegal. I’ll just lock
You great hypocrite! Remember the song you gave the door. What on earth shall we do with his hair?
me this morning? Sing it to the Countess.
COUNTESS Fetch me a bonnet from my
COUNTESS Tell me who wrote it. dressing room, quickly! (Susanna goes to fetch a
bonnet.) What is that paper?
SUSANNA He did. And he’s so modest – look,
he’s blushing like a schoolgirl. CHERUBINO My commission.
25
 COUNTESS Well, they don’t waste much SUSANNA (doing so) This way.
time!
COUNTESS No, higher, like this. (discovering
CHERUBINO It was sent via Basilio. a ribbon tied around Cherubino’s arm) Now what’s
this ribbon?
COUNTESS In their hurry, they’ve forgotten to
seal it. SUSANNA The one he stole from me.

SUSANNA (returning) Forgotten to seal what? COUNTESS But it’s blood-stained.

COUNTESS His commission. CHERUBINO It’s blood-stained? But how

can that be? Oh, I remember… Yes, of course; I
SUSANNA They don’t waste much time! Here is slipped and fell and cut myself, so I bandaged the
your bonnet. wound with this ribbon.

COUNTESS Quickly now, at the double! If the SUSANNA Just show me. You’ll survive!
Count were to see us then there’d be trouble! Amazing, his arm’s more fair than mine. It’s just
like a girl’s!
SUSANNA Kneel down and let me look at
you – (Susanna takes Cherubino and makes him COUNTESS Can’t you ever be serious? Go into
kneel a slight distance from the Countess, who has my dressing room. On the little desk you’ll find a
seated herself.) for Heaven’s sake keep still. Now bandage. As for this ribbon, who knows…I like
let me take a look at you. Splendid! That fits the the color, I’d be sorry to part with it.
bill! (While Susanna is dressing his hair, Cherubino
regards the Countess tenderly.) Why can’t you SUSANNA The bandage. But how shall we tie it
keep your eyes on me? Stop looking over there. up?
(Continuing to dress Cherubino’s hair, Susanna places
the bonnet on him.) Try not to fidget, let’s have COUNTESS Another ribbon; bring it here.
a look at you. Please concentrate – thank you.
We’ll do this up more neatly…Now drop your CHERUBINO No! With that one it’ll heal all
eyes discreetly…Now try and smile more sweetly. the quicker. A ribbon which has touched the hair,
You’ll spoil it all completely with that ungracious or even touched the flesh of someone…
frown. Let’s have you on your feet, please; try
walking up and down. He’s really rather charming COUNTESS (interrupting Cherubino) Someone
he’s thoroughly disarming. A little bit unsteady, else, then it heals you straight away? Does it
but loving it already. He’s got a certain something really? Well, you learn something new every day!
you can’t deny; all women seem to love him and I
see why, I see the reason why. CHERUBINO How can you tease me? You know
I have to leave you.
COUNTESS Enough of this nonsense!
COUNTESS Who’s a poor wounded soldier!
SUSANNA It may be nonsense, but it’s making
me jealous! You little monkey, how dare you be so CHERUBINO I’m so unhappy!
pretty? It’s outrageous!
COUNTESS (very moved) You’re crying…
COUNTESS That’s quite enough of that…Now,
will you help me roll up his sleeves past the elbow. CHERUBINO Oh God! I wish that I was dying!
That way the dress will sit more comfortably on As I approached my final moment, you’d bend
his shoulders. down and you’d kiss me.
26
Cherubino sings a song to the Countess as Susanna plays the guitar.
Photo: Dana Sohm / Lyric Opera Kansas City

COUNTESS (drying Cherubino’s eyes with a COUNTESS That’s true… but I was… yes, I was
handkerchief) Don’t be silly – you know this is in here trying clothes on with Susanna. She’s gone
madness. (knock on door)Who’s knocking at the back to her room.
door?
COUNT Nevertheless, you seem to be distracted.
COUNT (outside) Why is this locked? I’ve just received this letter.

COUNTESS It’s my husband – God help us! COUNTESS (Heavens! The letter that Figaro
He’ll kill me, and you, without your breeches – wrote him.)
just look at you! He will have read the letter, and
he can be so jealous… (Cherubino knocks something over.)

COUNT Why are you waiting? COUNT What’s making that noise? I could have
sworn something fell over.
COUNTESS I’m alone… Yes, alone.
COUNTESS I didn’t hear anything.
CHERUBINO After all that has happened he’ll
be furious, and certain to suspect me. COUNT Because you’ve got something else
on your mind.
(Cherubino hides.)
COUNTESS Like what?
COUNTESS Heavenly father, please protect me!
COUNT Somebody’s in there!
(She unlocks the door to admit the Count, who enters.)
COUNTESS And who might that be?
COUNT What does this mean? It was never your
custom to lock yourself in your bedroom. COUNT I’m asking you; I’ve only just arrived.
27
 COUNTESS Oh yes, Susanna… Susanna… COUNTESS No, no, I say you’re not to; I order
you, be silent!
COUNT Who’s gone back, or so you said, to her
own room? SUSANNA There’s bound to be a scandal; a
terrible catastrophe is sure to happen now!
COUNTESS To her room, or mine, I can’t
remember. COUNTESS, COUNT My lord/lady, we must
be careful; a scandal is unthinkable, it must not be
COUNT Susanna? So why this over-anxious allowed.
manner? I may be wrong, but you looked all
hot and bothered. COUNT So you’re proposing not to open it?

COUNTESS Normally it’s you who gets all hot COUNTESS How dare you even ask me to open
and bothered over Susanna! the door?

COUNT Well, that’s as may be, and as she’s in COUNT Well, suit yourself. Why waste time
there let’s see her. with keys? I'll knock it down.

(Susanna enters and hides.) COUNTESS What’s this? How dare you
impugn the honor of a lady?
COUNT Come out of there, Susanna! Come out
of there, I say! COUNT You’re right. Excuse me; any noise of
disturbance will provoke all sorts of gossip among
COUNTESS She can’t come out, believe me. the servants. I think I’ll lock every single door.
(The Count does so.)
SUSANNA But where is Cherubino? How did he
get away? COUNTESS (What behavior!)

COUNT You dare to contradict me? Why? COUNT Would you condescend to come with
me, my lady? Will you do me the honor? Here’s
COUNTESS Her manners shame your own: my arm.
She’s trying on her wedding dress.
COUNTESS Here’s mine.
COUNT (Her lover’s in there hiding, oh yes, I
should have known.) COUNT (indicating the dressing room) Don’t you
worry about Susanna; she’ll be fine.
COUNTESS, SUSANNA An uglier/trickier
situation I’ve never ever known. (The Count and Count exit. Susanna moves to the
closest door.)
COUNT Susanna! Come out this minute!
SUSANNA Don’t worry, Cherubino, it’s only me,
COUNTESS Be sensible! I beg you! Susanna. Don’t worry, but hurry. We’ll get you out
of here.
COUNT Come out, I say!
CHERUBINO (Exiting the closet) I’m absolutely
COUNTESS Why should the girl obey? petrified, I’m paralyzed with fear.

COUNT Give me at least an answer, yes, speak SUSANNA Oh dear, the doors are locked and
to me Susanna. bolted, oh dear, we’ll never ever get you out of
28 here.
CHERUBINO The doors are locked and bolted, out a game – a charade – and I swear nothing
oh dear, you’ll never ever get me out of here. I immodest, nothing bad, nothing wrong…
mustn’t meet the master.
COUNT Who is it? Tell me, I will kill him!
SUSANNA Yes, that would be disaster.
COUNTESS He’s just a boy.
CHERUBINO There’s only one solution: I’ll
jump into the garden. COUNT Just a boy?

SUSANNA You’ll only break your ankle – don’t COUNTESS Yes. Cherubino.
do it! Come back for pity’s sake.
COUNT (Why is it my misfortune to bump
SUSANNA It’s far too high to risk it! into that boy at every turning?) Really? He hasn’t
gone yet? He’s disobeyed me? Now the light starts
CHERUBINO Let me go! Let me go! For my to dawn, I can see things much better. Now I
lady I would jump from even higher. I’m ready, understand the meaning of that letter. Out you
this is goodbye. come, you vile seducer, wretched boy, come out of
there!
SUSANNA You’ll only break your ankle – ah!
what a way to die! (Cherubino jumps.) Oh God, COUNTESS Do not hurt him, I beseech you; he
Cherubino! Look at the little devil! How he’s is innocent, I swear. This is more than I can bear.
running, disappearing in the distance. Right,
no time for me to waste. He’ll be back here any COUNT Yet again you dare refuse me!
minute, and when he comes into the room guess
who’ll be in it! COUNTESS Well, it might arouse suspicion,
groundless suspicion, when you see him in this
(Susanna enters the closet. The Count and Countess condition, all disheveled, with his hair down…
enter. The Count brings a hammer and a crow-bar. He was wearing women’s clothing…
He examines all the doors.)
COUNT I have always thought you shameless,
COUNT Everything as I left it. For the last time, but how could you stoop so low?
will you open it or shall I?
COUNTESS I protest that I am blameless, you
(He prepares to force open the door.) are wrong to doubt me so!

COUNTESS Wait a minute and allow me to COUNT Bring the key here!
speak. Do you think I’ve betrayed you?
COUNTESS He has done nothing!
COUNT Just as you wish, when I can look inside
and see the truth for myself. COUNT I know nothing! Don’t compound your
foul offence. Must you denigrate my name? Must
COUNTESS Yes, you can see, but you must be you cover me with shame?
prepared.
COUNTESS Jealous rage has fired his passion,
COUNT So it isn’t Susanna? full of anger and of shame.

COUNTESS No, someone else altogether, COUNT I will kill him! He has dared to stain
someone who could never give you cause for my honor, he has dared to debase my noble name.
concern. You see, for this evening we were trying
29
 (Susanna emerges.) COUNT Rosina!

COUNT Susanna!? COUNTESS Rosina? No, not any longer. For

now you neglect me, despise and reject me, delight
COUNTESS Susanna!?! in my misery and laugh at my pain.

SUSANNA You called, sir? You seem quite COUNT I’m sorry I hurt you, made light of your
appalled, sir. (ironically) The guilty offender has virtue. Forgive me, my lady, and love me again.
come to surrender; It’s not Cherubino, it’s just You swore he was in there. So why were you
little me. panicking?

COUNT It can’t be! I hardly believe what I see. COUNTESS Only to test you and to tease you.

COUNTESS (Susanna was in there, but how COUNT Well, whose was that letter then?
could that be?)
COUNTESS, SUSANNA Invented by Figaro
SUSANNA (They simply refuse to believe what and sent by Basilio.
they see.)
COUNT The traitors, I’ll teach them.
COUNT Who’s with you?
COUNTESS, SUSANNA The way you’ve
SUSANNA There’s no one, but do go and see. behaved you can hardly complain.

(The Count goes to look for himself.) COUNT I’m sure you’ll forgive me, my darling
Rosina.
COUNTESS I cannot believe it – Susanna,
where is he? COUNTESS You see, my Susanna, I’m so
tender-hearted. Who will ever believe in the fury
SUSANNA He jumped from the window and of a women scorned again?
managed to flee.
SUSANNA They always get round us, so much
COUNT (comes out of the dressing room in for our freedom; there’s always a man who is
confusion) I don’t understand it – I hardly believe holding the reins.
it – if I have offended, forgive me, I beg you. Your
joke was a cruel one, though you’ve had your fun. COUNT Please look at me. I wronged you; and
I’m sorry.
SUSANNA, COUNTESS How can we forgive
you the wrong you have done? SUSANNA This bitter experience may teach
them to love one another again.
COUNT I love you! I swear it!
COUNT, COUNTESS This bitter experience
COUNTESS Don’t say that! How can you? You may teach us to love one another again. We will
called me unfaithful, you doubted my honor. learn to love each other again.

COUNT Come help me, Susanna, to steady her (Figaro enters.)

nerve.
FIGARO The wedding procession is ready and
SUSANNA A husband who’s jealous cannot be waiting. You hear the musicians so with your
excused. My lady… permission we’ll follow our friends who await us
30
to dance at our wedding, our glorious day. COUNT You deny it?
So with your permission we’ll hurry away.
FIGARO I’ll stay quiet.
COUNT Before you rush off I have something to
say. SUSANNA, COUNTESS Can’t you see the fun
has ended and the curtain has descended? When
SUSANNA, COUNTESS, FIGARO Who there’s nothing more to say, it’s the end of any
knows what will happen, or what he will say? play.

COUNT There’re one or two cards that I still FIGARO But a play should end in jollity, in
have to play. theatrical tradition; so you’ll grant us your
permission to enjoy our wedding day. Heed my
COUNT Let me try to jog your memory. (shows pleading, I implore you, be compassionate I pray.
him the letter) Have you seen this note before?
SUSANNA Heed our pleading, I implore
FIGARO (pretending to examine it) Never seen it. you, be compassionate I pray.

SUSANNA, COUNTESS, COUNT Never seen COUNT Where the hell is Marcellina? What is
it? keeping her away?

FIGARO No! (Antonio enters with a pot of trampled geraniums.)

SUSANNA But you gave it to Basilio… ANTONIO Oh, my lord! My lord!

COUNTESS To deliver… COUNT What do you want?

COUNT You remember? ANTONIO Bloody man, bloody nerve!

FIGARO Afraid I don’t. COUNT, COUNTESS, SUSANNA, FIGARO

What is this, what has happened?
SUSANNA The disguise for Cherubino…
ANTONIO You chuck all kinds of stuff out
COUNTESS And the meeting in the the window, some of which I would rather not
garden… mention. But it didn’t escape my attention when a
man came a-tumbling down on top of my flowers.
COUNT You can tell me.
COUNT From the window?
FIGARO Afraid I can’t.
ANTONIO Yes!
COUNT There’s no point in your denying – you
may think you’re good at lying, but your face gives COUNTESS, SUSANNA, FIGARO Why on
you away. earth is this drunkard in here?

FIGARO Then appearances deceive you. COUNT Where’s the man who fell into the
garden?
COUNTESS, SUSANNA If you lie he won’t
believe you; he knows all about the letter, there is ANTONIO Ran off, that’s begging your pardon,
nothing you can say. like a shot and he got clean away.

31
 SUSANNA (to Figaro) Cherubino… FIGARO You always look small when you fall.

FIGARO (to Susanna) I know, ’cos I saw him. COUNT (to Antonio) What do you think?
(laughing aloud) Ha, ha, ha, ha!
ANTONIO Well, it looked like the page boy.
ANTONIO What’s so funny?
COUNT Cherubino?
FIGARO We can hardly believe what you say
when you’re drunk as a skunk every day. COUNTESS, SUSANNA (Cherubino, now
we’re done for!)
COUNT Tell me slowly, tell me everything: he
jumped from the window? FIGARO (ironically) Cherubino? Yes, that’s
brilliant. He rode back from Seville like the
ANTONIO From the window. clappers; he rode back from Seville, but of course!

COUNT To the garden? ANTONIO No, the bloke who fell down wasn’t
riding, ’cos I’m sure I’d have noticed the horse.
ANTONIO To the garden.
COUNT Enough of this nonsense!
COUNTESS, SUSANNA, FIGARO Can’t you
tell, can’t you smell, he’s been drinking? COUNTESS, SUSANNA (What on earth can
we do?)
COUNT Pray continue. You saw what he looked
like? COUNT (to Figaro) It was you?

ANTONIO No, I didn’t. FIGARO Yes, it’s true. I was scared…

FIGARO (to Antonio) You’re boring us rigid for COUNT Scared of what?
hours, for the sake of a few tatty flowers. And I
don’t see why I should deny it, that the man in the FIGARO I was in there – I was waiting for my
window was me. Susanetta, and I heard these peculiar noises…
You were shouting – I thought of that letter…so I
COUNT What? You’re joking! jumped full of fear and confusion; when I landed I
twisted my knee.
COUNTESS, SUSANNA (Now that was
ingenious.) (He pretends that he is hurt.)

FIGARO No I’m not. ANTONIO Well then, these are your papers.
You dropped them in the garden.
ANTONIO It was you, then?
COUNT Aha! Give them to me!
FIGARO Yes, why not?
FIGARO Now he’s cornered me.
COUNT It’s hard to believe it.
COUNTESS, SUSANNA (softly, to Figaro) You
ANTONIO Then explain why you seem to be must be careful and crafty!
taller. When you jumped you were nowhere as
tall. COUNT Then you’ll know what these papers
might be?
32
FIGARO Just a moment – these papers, let me
see…

ANTONIO It is probably a list of his creditors.

FIGARO No, your bills from the boozer.

COUNT (to Figaro) I’m waiting. (to Antonio)

That’s enough from you.

COUNTESS, SUSANNA, FIGARO Off with

you and leave us!

ANTONIO I will go, but if ever I catch you…

FIGARO Run along, I’m not frightened of you.

(Antonio exits.)

COUNT Well then?

The Countess, Susanna, and Figaro try to get them-
COUNTESS (to Susanna) Oh God! selves out of a mess with the Count.
Photo: Dana Sohm / Lyric Opera Kansas City
COUNT I’m waiting…

SUSANNA, COUNTESS (If my nerve

FIGARO I’m so stupid, I’d forgotten. It’s just the
can survive such a nightmare, I will never be
commission; Cherubino had left it with me.
frightened again.)

COUNT Why was that, then?

FIGARO I will always know how to outwit him,
he is storming and stamping in vain.
FIGARO (confused) It needed…

COUNT He will drive me insane.

COUNT It needed?

(Marcellina, Basilio and Bartolo enter)

COUNTESS (to Susanna) Needed sealing.

MARCELLIA, BASILIO, BARTOLO Noble

SUSANNA (to Figaro) Needed sealing.
lord, we come for justice, will you listen to our
plea?
COUNT Do tell me.

COUNT (They have come here to work my

FIGARO Well, it’s usual…
vengeance. Ah, what a comfort they are to me.)

COUNT Now don’t be embarrassed!

COUNTESS, FIGARO, SUSANNA They have
come for revenge; what solution can there be?
FIGARO When it’s signed it is usual to seal it.

FIGARO Have you noticed fools and half-wits

COUNT (Once again he has slipped through my
always come in groups of three?
clutches.)

33
 COUNT Hold your tongue and let me hear them; COUNTESS Don’t breathe a word to Figaro;
let me listen to your plea. I will act as referee. leave it to me, I will go in your place.

MARCELLIA This man signed a binding COUNT By this evening Basilio should be back.
contract joining both of us in marriage. I have
come to claim the promise made to me. SUSANNA My lady, I dare not!

COUNTESS, SUSANNA, FIGARO Forfeit? COUNTESS Remember, my peace of mind

Promise? It’s complete and utter madness! depends on you.

COUNT Enough! Let me take a look at the COUNT What of Susanna? Who knows, maybe
contract…Yes, it all seems in order to me. she’s already let the cat out of the bag. If she’s
betrayed me, I’ll make him marry that old hag.
COUNTESS, SUSANNA, FIGARO Rage
and sorrow, driving me to desperation. They have SUSANNA Marcellina! (approaching the Count)
plotted with the devil, bringing sadness to my My lord!
heart.
COUNT What do you want?
MARCELLIA, BASILIO, COUNT,
BARTOLO What an ending to the story, now SUSANNA It’s just… it’s just my lady, she’s got a
we smell the scent of glory. God in Heaven has slight headache and she sent me to ask you for her
smiled upon us, bringing gladness to my heart. smelling salts.

COUNT Here, take them.

ACT THREE
A richly decorated hall prepared for a wedding SUSANNA I will return them.
festivity, with two thrones
COUNT Er, no, for maybe you will need them
COUNT (walking up and down) This is very for yourself.
perplexing! That anonymous letter, then Susanna
locked inside the dressing room, my wife getting SUSANNA What, me? Women of my class don’t
flustered, a man who jumps from the window to suffer from light headedness!
the garden, and then another, who claims he was
the first one. I don’t know what to think. Or could COUNT Not even if they lose their fiancé on the
it be that another of my servants has got ideas day of their wedding?
above his station? Worst of all, the Countess; I
doubted her, I insulted her, her self-respect would SUSANNA We’ll pay off Marcellina with the
never allow it. And then my honor, my reputation, dowry which you so kindly promised.
where is it now? Gone to damnation!
COUNT Which I promised? Really?
COUNTESS (entering with Susanna, and keeping
out of sight) Don’t be afraid! Tell him to wait for SUSANNA I thought that it was settled.
you in the garden.
COUNT Yes, if you’d agreed to my little
COUNT I must know if Cherubino really went to proposition.
Seville. I’ll send Basilio to find out the truth.
SUSANNA To please your lordship is my duty
SUSANNA My lady, if Figaro… and my desire. I have no higher ambition.

34
COUNT How could you be so cruel, making me COUNT (She will be mine!)
suffer so?
SUSANNA (You shouldn’t count your chickens
SUSANNA A girl needs time to ponder, should it before they’re hatched!)
be yes or no?
FIGARO (entering) Hey, Susanna, how’s it going?
COUNT Then you’ll be there this evening?
SUSANNA Quiet! We don’t need a lawyer, you’ve
SUSANNA You speak and I obey. won the case already!

COUNT Swear you’ll be there to meet me. FIGARO What has happened?

SUSANNA How could I stay away? (Figaro and Susanna exit.)

COUNT You’ll meet me? COUNT ‘You’ve won the case already.’ What
does that mean? They are out to deceive me. I’ll
SUSANNA Yes! teach them to presume to attack me. They shall be
punished; I’ll enjoy passing sentence. What if he’s
COUNT You will not cheat me? managed to pay off Marcellina? How could he?
He’s got no money. And then Antonio won’t allow
SUSANNA No! his beloved niece Susanna to marry such a nobody
as Figaro. It will work in my favor. Must I be
COUNT With passion I am dying; feel how my made to suffer while servants take their pleasure?
heart is aflame. He dares to steal my treasure, she should be mine
by right. Must passion still torment me, must
SUSANNA I see no harm in lying, you have to I stand by and bless her? Must Figaro possess
play the game. her? Ah, no, I will not spare you, I’ll teach you
to betray me! Impudent servant, how dare you!
COUNT But I don’t understand: this morning Is this how you repay me? Only the thought of
you were so distant. vengeance for all the grief you cause me consoles
me and restores me, and
SUSANNA The page boy could have heard us. fills me with delight.

COUNT What of Basilio? You can always talk to (Count exits, Barbarina and Cherubino enter.)
him.
BARBARINA Come on, Cherubino; I’ve got a
SUSANNA Do you think that we need a Basilio? secret: all of the prettiest girls in the palace are
gathering in my house. But, frankly, very few are
COUNT You’re right: and you have given your prettier than you are.
word. But if you disappoint me… What of the
Countess? She’s waiting for her smelling salts. CHERUBINO Ah, but the Count thinks I’m in
Seville, in the army. If he finds that I’m still here,
SUSANNA You should have known it was a he’ll go crazy.
trick, so that we could be alone.
BARBARINA Oh, don’t be such a spoilsport!
COUNT (Going to embrace Susanna) You’re If he finds you with a girl, it won’t be the first
wonderful! time. Listen…We’re all getting dressed up for the
wedding; you could come in disguise and join us
SUSANNA (Pulling away) Someone’s coming! giving flowers to the Countess.
35
 (Barbarina and Cherubino exit, the Countess enters.)

COUNTESS And Susanna’s not here; I’m so

anxious to discover if the Count accepted her
proposal. Perhaps our project is a little too rash
when I’ve a husband so jealous. But where’s the
harm? That I should change my clothes and wear
instead Susanna’s while she wears mine, under
cover of darkness… Oh, heaven! So these are the
miserable depths I am reduced to by a husband’s
neglect. What an unpredictable mixture of
passions rages in his heart: he is disdainful, he’s
jealous – first he woos me, then rejects me, and
then betrays me. Ah, he has forced me to conspire
with servants. I remember his love so tender, all
those sweet lies I longed to hear. Yes, he loved me,
but, ah, how quickly so much love can disappear.
But my faith was my undoing, and my joy has
turned to woe; still I can’t forget his wooing and
the love of long ago. Oh, I hope my love will save
me from this wilderness of pain, and the tender The Countess is determined to win the Count's love
love he gave me will be made to live again. I Photo: Dana Sohm / Lyric Opera Kansas City
remember how he would love me, may his passion
live again.
COUNT But where are they? Do we know them?
(The Countess exits.)
FIGARO To be honest, I’m still searching. Give
CURZIO The case is decided; he must pay her or me ten years or so, then I will have found them.
marry her. That is the verdict.
BARTOLO You mean you were an infant?
MARCELLIA What a relief!
FIGARO Not quite, more like a lostling. I was
FIGARO What a nightmare. kidnapped.

MARCELLIA At last the man I love will be my COUNT Kidnapped?

husband.
MARCELLIA Kidnapped?
FIGARO I appeal to your lordship…
BARTOLO Can you prove it?
COUNT The motion is carried, you pay up or get
married. Thank you, Don Curzio. CURZIO And prove it legally?

CURZIO And thank you to your lordship. FIGARO The gold and jewels, and rich
embroidered garments which were found in my
FIGARO She’ll never be my wife. cradle and were taken by the gypsies. All this
is proof enough of my noble birth. But most
BARTOLO Oh, yes, she will. important, I have a birth mark upon my arm…

FIGARO I’m a patrician; I may not be married MARCELLIA On your right arm?

36 without my parents’ permission.

FIGARO Who told you that? FIGARO Beloved father! Beloved mother!

MARCELLIA Oh heavens! It’s him then! SUSANNA (entering) Noble sir, where are you
going? Here’s the money that is owing. I have
FIGARO Well yes, it’s me… come to pay for Figaro, I have come to set him
free.
CURZIO Who?
COUNT, CURZIO God alone knows what is
COUNT Who? happening, we had better wait and see.

BARTOLO Who? SUSANNA (turning and seeing Figaro embracing

Marcellina) He’s embracing Marcellina! Lying
MARCELLIA Rafaello! toad! You filthy cheat! You’re a scoundrel!

BARTOLO Kidnapped by gypsies? FIGARO No, Susanna!

FIGARO Yes, near a castle. SUSANNA Don’t you touch me!

BARTOLO This is your mother. FIGARO Listen, my darling…

FIGARO My wet nurse? SUSANNA I’ll give you darling!

BARTOLO No, your mother. MARCELLIA (runs to embrace Susanna) Try not
to be angry, my own dearest daughter; if I am his
COUNT, CURZIO His mother? mother, I’m your mother too, a mother to him and
a mother to you.
FIGARO I can’t believe it!
SUSANNA (to Bartolo) His mother?
MARCELLIA This is your father. (embracing
Figaro) Darling boy, let me embrace you. Oh, what BARTOLO His mother.
joy that we’re together.
SUSANNA (to the Count) His mother?
FIGARO (to Bartolo) Come to me, my dearest
father. Can’t you see I’m moved to tears? COUNT His mother.

BARTOLO (embracing Figaro) Son and father SUSANNA (to Don Curzio) His mother?
reunited after all these lonely years.
CURZIO His mother.
CURZIO That’s his father? And that’s his
mother? Then the announcement cannot proceed. SUSANNA (to Marcellina) His mother?

COUNT No, it can’t be… don’t believe it. That’s MARCELLIA, CURZIO, COUNT,
the last thing that I need. I will leave them here BARTOLO His mother!
together, this is very odd indeed.
SUSANNA (to Figaro) Your mother?
MARCELLIA I’m your mother! Kiss your
mother! FIGARO And this is my father who swears it is
true.
BARTOLO I am your father!
37
 SUSANNA (to Bartolo) His father?

BARTOLO His father.

SUSANNA (to the Count) His father?

COUNT His father.

SUSANNA (to Don Curzio) His father?

CURZIO His father.

SUSANNA (to Marcellina) His father?

MARCELLIA, CURZIO, COUNT,

BARTOLO His father!

SUSANNA (to Figaro) Your father?

SUSANNA, MARCELLIA, BARTOLO,

FIGARO This wonderful moment, this joyous
reunion, it’s almost too much for my poor heart to
bear.
Susanna and Figaro make plans to fool the Count.
CURZIO, COUNT Such anger and torment are Photo: Dana Sohm / Lyric Opera Kansas City
burning within me, unbearable, this fury of rage
and despair.
SUSANNA We’d better tell my lady and my
(The Count and Curzio retire.) uncle of this unexpected delight. Who could be
happier than I am?
MARCELLIA This is our little baby, the sweet
memento of a love that has vanished. FIGARO I am!

BARTOLO That’s in the past, and it’s over and BARTOLO I am!
done with: but since I am his father, and since you
are his mother, I suppose we should get married to MARCELLIA I am!
each other.
SUSANNA, MARCELLIA, FIGARO,
MARCELLIA Today? We’ll have a double BARTOLO And if the Count is furious, well
wedding. (to Figaro) Take this; it is the contract that will serve him right!
for the money you owed me; it is your dowry.
(Susanna, Marcellina, Figaro and Bartolo exit. Enter
SUSANNA (throws a purse to the ground) Take the Count and Antonio, with a hat in his hand.)
this from my lady.
ANTONIO I must warn you, my lord, that
BARTOLO (does the same) And one from me. Cherubino is still lurking round the castle. If
you’re looking for proof, I’ve got his hat.
FIGARO Thank you. All contributions gratefully
received. COUNT How could that be, tell me, how? He
should be in Seville by now.

38
ANTONIO Well, in that case Seville is in my do for a seal. I have it. We can write on the back:
house. There he’s dressed as a woman, and there ‘return seal to sender’.
he left all his other clothes.
SUSANNA Yes, that’s ideal, that makes it sound
COUNT Treachery! mysterious.

ANTONIO Come with me, and you will see COUNTESS Someone’s coming: things are
what you will see. getting serious!
(The Count and Antonio exit. The Countess and (Susanna puts the note in her bosom. A group of girls
Susanna enter.) enter including Barbarina, with
Cherubino in disguise.)
COUNTESS That’s amazing! But how did the
Count react? BARBARINA Madam, with your permission,
some girls from the village, we’ve come to see you,
SUSANNA His face was a picture and the and hope that you’ll allow us to present to you this
varnish was cracked! humble gift of flowers.

COUNTESS Careful! If we enrage him, we may COUNTESS Oh thank you, they’re enchanting!
not defeat him. Now what have you arranged?
Where are you going to meet him? COUNTESS (Pointing to Cherubino) But tell me,
who’s this? This little girl who’s blushing so shyly?
SUSANNA In the garden.
BARBARINA She is one of my cousins; she
COUNTESS Let’s fix a place. Write to him. came to visit and to be here for the wedding.

SUSANNA My lady, I wouldn’t dare. COUNTESS Let us make our charming stranger
welcome. Won’t you come here? (She takes
COUNTESS I’ll take the blame. Yes, we’ll Cherubino’s flowers and kisses him on the forehead.)
disguise it as a poem. Let’s say, a song to the Give me your bouquet. Don’t be afraid; she’s
breezes. blushing. But Susanna, doesn’t she remind you of
someone?
(Susanna sits down and writes.)
SUSANNA The spitting image!
SUSANNA …the breezes…
ANTONIO (entering with the Count and pulling
COUNTESS (dictating) Would you feel the off Cherubino’s hat, replacing it with his officer’s
gentle breezes blowing through the trees tonight. cap) Hey, what did I tell you! Here’s your missing
soldier!
SUSANNA …blowing through the trees tonight.
COUNTESS Oh heavens!
COUNTESS You can feel them in the pinewood.
That is all we need to write. SUSANNA Just our luck!

SUSANNA, COUNTESS That is all we need to COUNT Well, my lady!

write.
COUNTESS My lord, I can assure you that I’m
SUSANNA (folds the letter) That should do the as surprised and as angry as you are.
trick! What’s the best way to seal it?
COUNT But this morning?
COUNTESS I know, let’s use this pin. It will 39
 COUNTESS This morning we decided we would he galloping back from Seville?
dress him up as a girl, just for a game: they’ve
simply done the same. FIGARO He was galloping, maybe trotting, why
should you worry? Come on girls, we must hurry.
COUNT And why are you still here?
COUNT And in your pocket was Cherubino’s
CHERUBINO My lord… commission?

COUNT You will be punished, how dare you FIGARO What’s all this?
disobey me!
ANTONIO No point in waving, Susanna, he’s
BARBARINA Dearest master, you remember not looking. Here’s someone who will prove that
what you say when you come into my bedroom to Figaro’s a liar.
hug me and to kiss me: ‘If you love me, Barbarina,
I will grant your every wish.’ FIGARO Cherubino!

COUNT That’s what I say? ANTONIO Got it in one!

BARBARINA Oh yes. Well now, I have a wish, FIGARO What has he told you?
to marry Cherubino. But don’t forget, I’ll always
be your little pussy cat. COUNT He’s told the truth; he says that he was
the one who jumped into the garden.
COUNTESS (to the Count) Well fancy, what do
you say to that? FIGARO What a copycat! Really! Since I jumped
from the window, I presume that’s what he did!
ANTONIO Bravo, my daughter! She has
remembered everything I’ve taught her. COUNT What, both of you?

COUNT I’m in a trap, the devils, they’ve caught FIGARO Maybe so. I’m not one to accuse
me! The whole world’s been plotting against me. when I don’t know. Now I can hear them, the
musicians. You pretty maidens must take up your
FIGARO (entering) My lord, if you detain these positions. You take my arm, Susanna.
lovely girls any longer, there’ll be no party, no
dancing. SUSANNA Here I am.

COUNT You’re dancing? As much as your knee (All exit, except the Count and Countess.)
will allow!
COUNT I will kill them!
FIGARO (pretends to straighten his leg, then tries
to dance) It’s feeling better now. Let’s join the COUNTESS How can I bear it?
celebration.
COUNT My lady!
COUNT You’re very lucky, those vases were only
clay. COUNTESS No time for talking, we must bless
the couples; our duty must be done. Remember,
FIGARO You’ll excuse me, but we must be on one bride has your special protection. Be seated.
our way.
COUNT By all means. I’ll sit and plan my
ANTONIO But what about the page boy? Was vengeance.
40
Barbarina looks for a lost pin in the garden.
Photo: Dana Sohm / Lyric Opera Kansas City

(The Count and Countess seat themselves on thrones. the ground.) Ah! That’s typical of women: they
Figaro, Susanna, Marcellina, Barbarina, Bartolo, never know the right place to stick a pin in. Ah! I
Antonio, hunters with guns, court attendants, and understand now.
country people enter. Country girls bring the bridal
hat with white plumes, two others a white veil, and FIGARO (sees it all and says to Susanna) He is
two others gloves and a nosegay. They are followed reading a letter which someone handed him
by Figaro with Marcellina. Two other girls carry a discreetly. The silly girl has sealed it with a
similar hat for Susanna, followed by Bartolo with needle. Look, I think he’s pricked his finger. (The
Susanna. Bartolo leads Susanna to the Count, and Count reads the note, kisses it, looks for the pin, finds
she kneels to receive from him the hat etc. Figaro leads it and sticks it in his lapel.)
Marcellina to the Countess for the same purpose.)
COUNT This joyous evening, this double
TWO SERVING GIRLS As true-hearted lovers celebration must finish, as befits any wedding,
we praise and applaud the pillar of justice, our full of joy and jubilation. My dearest friends, I
virtuous lord. Since his abolition of shameful invite you to a banquet with music, with fireworks;
tradition, our pride and our honor are safely there’ll be dancing, there’ll be laughter. And may
restored. all those dear to my heart live happy ever after.

(Susanna, kneeling during the duet, plucks the Count’s VASSALS As true-hearted lovers we praise and
sleeve, shows him the note, then reaches to her head in applaud the pillar of justice, our virtuous lord.
a manner visible to the audience, and while the Count Since his abolition of shameful tradition, our pride
pretends to adjust her bonnet, she gives him the note. and our honor are safely restored. We all sing the
The Count quickly hides it, and Susanna rises and praise of our virtuous lord, and our pride and our
curtseys. Figaro comes to receive her, and they dance honor are safely restored.
the Fandango. Marcellina rises a little later. Bartolo
receives her from the Countess.)

COUNT (takes the note and pricks his finger

with the pin as he opens it. He throws the pin to

41
 ACT FOUR FIGARO No, you can trust me.
A garden.
BARBARINA (leaving) Bye-bye; nice to
have seen you. I’m off to Susanna, and then to
BARBARINA (looking for something on the floor)
Cherubino.
I have lost it, I’m so stupid, ah, wherever can it
be? I can’t find it; cousin Susanna, and the Count,
FIGARO Mother!
what will he say?

MARCELLIA My son!
(Figaro and Marcellina enter.)

FIGARO I’m dying!

FIGARO Barbarina, what’s happened?

MARCELLIA You must learn to be patient.

BARBARINA Oh my cousin, I’ve lost it.

FIGARO No use, it’s over.

FIGARO Lost what?

MARCELLIA Patience, patience, and still more

MARCELLIA Yes, what?
patience. This is serious, so let’s take one thing at
a time. For instance, are you sure that you know
BARBARINA The needle that his lordship gave
who’s playing tricks on whom?
me to give back to Susanna.

FIGARO But what about the needle? Oh mother,

FIGARO To Susanna? A needle? Little girls are
it’s the same one I saw the Count fingering earlier.
all the same, playing clever little games; bet you
know every trick in the book.
MARCELLIA That’s true, that gives you the
right to be cautious, to be suspicious; but not in
BARBARINA What’s wrong? How angry you
your rage and confusion to jump to a conclusion.
look!

FIGARO Oh, I’ll be watching: I know where

FIGARO Can’t you see that I’m joking? Here we
they are meeting, so I’ll know where to hide!
are! Here is the needle, the one which the Count
gave to you to give back to Susanna; I presume it
MARCELLIA Where are you going, my son?
was used to seal a letter. See, I know all about it.

FIGARO My revenge for all husbands has begun.

BARBARINA Why do you ask, if you already
know?
(Marcellina exits)
FIGARO I just wanted to see what he told you,
FIGARO Just be patient and stay in our
when he sent you on his errand.
positions, and when I whistle, come rushing
out together. Everything’s ready; the hour of
BARBARINA Nothing unusual: ‘Here,
reckoning is at hand. There’s someone coming…
Barbarina, take this needle to the lovely Susanna,
Susanna? No one there. Darkness surrounds me…
and tell her that it points to the pinewood.’
and I have begun to understand how painful it is
to be a husband. How shameless to betray me on
FIGARO Ah, yes, the pinewood!
the day of our wedding. He was reading that letter
and I was watching, little knowing I was laughing
BARBARINA That’s right, but that’s not all:
at myself. Oh, Susanna, Susanna what a blow
‘Careful that no one sees you’, but you won’t say a
you have dealt me! With all your girlish glances
word.
and your innocent laughter… who would not
42
have believed you? Why, it’s mad to trust women,
they’ll all deceive you. You foolish slaves of Cupid,
how can you be so stupid? Just look at what
these women are, you won’t believe your eyes.
Slavishly we adore them, and put ourselves before
them. We’re worshipping the devil in disguise.
These tigresses, pawing us and clawing us so
sweetly; these comets that shine on us and blind
us completely; these sirens that sing to us, these
leeches that cling to us, these roses that prick us,
these vixens that trick us, these daughters of Circe
who show us no mercy, the foxes that cheat us, the
spiders that eat us, these witches, pretending to
love us, you know it is true. I see that you know
what I’m saying, I see that it’s happened to you.
You foolish slaves of Cupid, how can you be so
stupid? Just see them as they really are: the devil
in disguise.

(Figaro exits. Enter the Countess and Susanna,

disguised, and Marcellina.)

SUSANNA My lady, Marcellina says Figaro will

be here.

MARCELLIA He’s here already: you’d better

keep your voice down. Figaro and Barbarina bump into each other in the
garden.
Photo: Dana Sohm / Lyric Opera Kansas City
SUSANNA One lover’s listening, the other’s on
his way to seduce me. The scene is set.
(The Countess exits.)
MARCELLIA (leaving) I’ll hide myself in here.
SUSANNA (He doesn’t know I know, which
SUSANNA My lady, you are trembling. Are you is doubly delicious. Now I’ll teach him to be so
too cold here? damn suspicious!) At last, the moment I’ve longed
for, when I lose myself completely in the arms of
COUNTESS The night is rather chilly. I’ll go my beloved. Yes, I have values, but I will keep
inside. them hidden. Are not pleasures much sweeter
when forbidden? This enchanted place, the silken
FIGARO (Now comes the climax of the drama.) touch of evening, mirror my secret desire, this
fire that burns inside me. See how the moon has
SUSANNA I’d prefer to stay here, if your shrouded its light to hide me. Come quickly my
ladyship will allow it; I want to take the air a beloved, I implore you. All of my being is waiting,
while, to cool down. aching for you. Do you not hear the voice of
nature calling? Share my secret delight as night
FIGARO Cool down! Yes, you need to! is falling. Caressing breezes make the treetops
shiver. Night is whispering softly to the river. A
COUNTESS (hides herself) Stay, and take your breathless hush descends on all creation; nature
time then. trembles in rapt anticipation. Come, my beloved,

43
 while all the world sleeps. Come, beloved, and I
will crown your head with roses.

FIGARO Treachery! Now I can see how she has

deceived me! Am I awake, or dreaming?

(The Countess enters, followed by Cherubino, who is

singing.)

COUNTESS (disguised as Susanna) Cherubino!

CHERUBINO There’s someone there; I’ll go in

and join Barbarina. Oh God, it’s a woman!

COUNTESS This is impossible!

CHERUBINO That’s funny! I know it’s dark, but

that cloak – I could swear it was Susanna’s.

COUNTESS If my husband appears, shame and

dishonor!

CHERUBINO I’ll approach her, oh so softly,

seize the moment while I may.

COUNTESS Ah, my husband, if he saw us,

there’d be hell, yes, hell to pay. Susanna pretends to sing her love for the Count as
Figaro looks on.

CHERUBINO (to the Countess) Susannetta! Photo: Dana Sohm / Lyric Opera Kansas City
Doesn’t answer, she pretends she hasn’t seen me.
Very well, then! That’s a game that two can play.
(He takes her hand and caresses it.) CHERUBINO First you’ll kiss me, and then I’ll
leave you.
COUNTESS (tries to free herself, disguising her
voice) Don’t you touch me! Little rascal, will you COUNTESS What an utter scandal this is!
get away from here?
SUSANNA, COUNT, FIGARO Ah, this chills
CHERUBINO So flighty, high and mighty, but I me to the bone, for another man is here, and it
know why you are here. sounds like Cherubino.

COUNT (entering) Here she is, my dear Susanna. CHERUBINO Are you saving up your kisses
so the Count can have his share? Don’t be so
SUSANNA, FIGARO Here’s the hawk to catch prudish, it doesn’t suit you. Don’t you remember I
the sparrow. was there behind the chair?

CHERUBINO Why this cold and haughty COUNTESS You are shameless!
manner?
SUSANNA, COUNT, FIGARO He is
COUNTESS I will scream if you don’t leave me! shameless!

44
SUSANNA, COUNTESS, COUNT, FIGARO COUNTESS It is Susanna’s duty to yield to your
Heavens, how can we get rid of him, he will spoil request.
the whole affair.
SUSANNA, COUNT, FIGARO Although the
CHERUBINO Let me kiss you. plan is working, we’ve yet to see the best.

COUNTESS, CHERUBINO Oh heavens, his COUNTESS (to the Count) My lord, I see a
lordship! light, I fear that people may be near.

(Cherubino exits.) COUNT Come on my Aphrodite, let us hide

ourselves in here.
FIGARO I must see what’s happening here.
SUSANNA, FIGARO Observe, you foolish
COUNT I will teach you better manners with a husbands, and shed a silent tear.
clip around the ear.
COUNTESS It’s very dark inside here.
SUSANNA, COUNTESS He deserved that, and
this will teach him to be curious, he was rash to COUNT We didn't come out here to read.
interfere.
SUSANNA, COUNTESS The plot is working
COUNT (to the Countess) Now we’re alone perfectly, exactly what we planned.
together, come closer, my beloved.
FIGARO She’s following him quite willingly, I
COUNTESS I swear to do whatever you desire, begin to understand.
my lord.
COUNT (Hearing noise) Who’s there?
FIGARO I have always loved and trusted her and
this is my reward! FIGARO Why should you care?

COUNT Here is my hand, my darling. COUNTESS That’s Figaro! I’ll hide. (Goes into
the right pavilion)
COUNTESS And here is mine.
COUNT I’ll follow shortly, you go inside.
COUNT My angel! (Disappears among the bushes)

FIGARO ‘My angel!’ SUSANNA (disguised as the Countess) Hey,

Figaro, be quiet!
COUNT Your skin so smooth and tender, your
hand so slight and slender, they thrill my heart FIGARO The Countess makes her entrance and
with ecstasy, fill me with wild desire! times it to perfection. A crime requires detection,
your husband and my Susanna, the thief and his
SUSANNA, COUNTESS, FIGARO This mad accomplice, the villain and the cheat.
infatuation has robbed him of his reason, his
senses are on fire and he is blinded by desire. SUSANNA (forgetting to change her voice) Be
quiet, or they’ll hear you. I’ll stay till I have
COUNT Darling, do not be cruel, accept this caught them, and vengeance will be sweet.
little jewel. (He gives the Countess a ring.) See how
it burns and glows like my heart within my breast. FIGARO (Susanna!) You want vengeance?

45
 SUSANNA I’ll let you feel this! (striking him
repeatedly)

FIGARO Don’t hit me!

SUSANNA You want it, then take it, and here’s

another! I’ll teach you if this is what you wanted,
I’ll gladly give you this!

FIGARO Be gentle I beseech you. These blows

are bliss and ecstasy as sweet as any kiss!

SUSANNA Your shameless infidelity! I’ll punish

you for this!

FIGARO (kneels) I surrender, my love, for your

voice was so loving and tender that I knew all
Figaro realizes Susanna is diguised as the Countess.
along it was you.
Photo: Dana Sohm / Lyric Opera Kansas City

SUSANNA (surprised) Did you really?

SUSANNA Yes!
FIGARO How could I mistake it?
FIGARO Countess, let’s find revenge together.
SUSANNA, FIGARO I surrender, my love, to a
SUSANNA (He thinks that I’m deceiving him, love that is tender and true!
and I will play along.)
COUNT (entering) I have lost her, I must have
FIGARO (She wants to set a trap for me, and I gone past her.
will play along.) Ah, if Madama wants to…
SUSANNA, FIGARO Heaven help us, that
SUSANNA Come on, what are you saying? Come sounds like the master.
on, no more delaying.
COUNT (turns towards the pavilion in which the
FIGARO Humbly I kneel before you, to worship Countess has hidden, and opens it) Hey, Susanna!
and adore you. Remember he betrayed you in this Where are you? Do you hear me?
accursed place.
SUSANNA Good, she’s managed to fool him
SUSANNA (Oh, how I’d love to punish him!…) completely.

FIGARO (Her anger grows apace!) FIGARO Who?

SUSANNA (I have the strong desire to strike SUSANNA The Countess!

him, to strike his stupid face!) (disguising her voice
slightly) What passion makes you woo me? FIGARO The Countess?

FIGARO The anger coursing through me! Let’s SUSANNA Precisely!

waste no time, my darling, give me your hand, my
lady, and let me feel…

46
SUSANNA, FIGARO Now the play will be BASILIO, CURZIO, ANTONIO, BARTOLO
rounded off nicely if we play on his innermost The mistress!
fears.
COUNT She’s everyone’s mistress; she stands on
FIGARO (falls at Susanna’s feet) Ah, my lady, be display for all the world to see.
mine I implore you.
SUSANNA (kneels before the Count, holding her
COUNT It’s my wife! I have come without my handkerchief before her face) Forgive me, forgive me!
weapon!
COUNT No, don’t even ask it!
FIGARO I am bursting with longing before you!
FIGARO Forgive her, forgive her!
SUSANNA I am yours, for you know I adore you.
COUNT No, no forgiveness!
COUNT Ah, the traitors!
SUSANNA, CHERUBINO, BARBARINA,
SUSANNA, FIGARO We’ll be happy hereafter, BASILIO, CURZIO, FIGARO, BARTOLO,
love and laughter will dry all our tears. ANTONIO Forgive her!

COUNT Quickly, bring your weapons! COUNT No!

(Susanna exits.) COUNTESS (comes out of the pavilion and is about

to kneel when the Count prevents her) I beg your
FIGARO (pretending great fear) Ah, my master! forgiveness for them, not for me.

COUNT Quickly, someone help me! BASILIO, CURZIO, COUNT, ANTONIO,

BARTOLO Oh this is delusion and utter
BASILIO, CURZIO, ANTONIO, confusion; I do not believe what I see.
BARTOLO (entering) What has happened?
COUNT (supplicating) My lady, forgive me!
COUNT Now I will show you how he’s cheated
and betrayed me, just you wait and you will see! COUNTESS I’m far more forgiving and so I say
yes.
(Susanna enters disguised as the Countess), followed
by Cherubino, Barbarina and Marcellina.) ALL The voice of forgiveness shall end all
distress. What a day of grief and sadness; what
COUNT No point in resisting, you treacherous a day of mirth and madness; love has turned it
woman, so much for insisting you’re faithful to into gladness, love alone has won the day. Lovers
me! (The Count reaches into the left pavilion and who take pleasure in dancing and laughter will
pulls out a resisting Cherubino, then Barbarina, be happy ever after. Do you hear the happy music
Marcellina and Susanna.) The page boy! playing for (their/our) wedding day? Yes, it is
(their/our) wedding day. We must hurry, for it is
ANTONIO My daughter! their/our wedding day.

FIGARO My mother!

47
 M E E T T H E A R T I STS :
L AY L A C L A I R E C O U N T E S S A L M A V I V A LUCY SCHAUFFER MARCELLINA

Did you grow up in a How did you get into the

musical/artsy family? world of opera?
My mother was a I fell into it as I grew up
painter and sculptor in musical theater. My
and my dad was a rock first job at the age of 16
drummer. There was was dancing four shows
always music playing a day seven days a week
in our house. at an amusement park. But, I always had the
voice that stuck out all the time. I fell into
For someone that is about to see an opera for the first opera also by the fact that I got a scholarship
time, what would you advise? to Northwestern University. I had looked to
Come with an open mind and enjoy! Also, join the theater department while I was there
don't worry about operas being in another but, at the time, they didn't have a combined
language, there are supertitles! music theater degree like they do now. I was
studying classically and it was sort of what
How would you describe your role in The Marriage happened next that I was into opera. In the
of Figaro? Can you relate to this character? end, the best thing I learned from falling into
opera was that I could still do other things
The Countess has been deeply hurt and
as well. I always was a part of a temporary
neglected by her cheating husband, the
music ensemble, I always sang in a jazz
Count. She wants to be loved and respected,
ensemble and in musicals. During my senior
which we can all relate to. But she is also
year at Northwestern, I sang Sarah Brown
strong and gracious and in the end shows
in Guys & Dolls and Rosina in The Barber
forgiveness.
of Seville. It was always about keeping the
balance going so I could first and foremost
What is your favorite scene in The Marriage of
just keep performing.
Figaro? Why?
The Act 2 finale is really fun, with lots How is this production of The Marriage of Figaro
of mischief and twists. The music is also different from productions you have been in the past?
exquisite.
Well I have seen costumes and pictures
How did you prepare for this role? and it looks as if it's going to be a bit more
I first learned, coached, and performed the traditional and more set in the time when
Countess while a student at Curtis Institute it was originally written. That doesn't mean
of Music in Philadelphia almost 10 years that director, Stephen Lawless, is going to
ago! do the characterization in the period. He
may update it. From a physical point of view,
What are you most looking forward to about it's very different because the last Figaro I
joining the Opera Philadelphia stage? did was set in 1950's Spain. The look was
completely different. I was quite the modern
The cast and music staff ! Many of us have
Marcellina. Dramatically, I don't know what
worked together in the past and are old
Stephen will have in store. You can never
friends, and my partner John is my Count!
underestimate Mr. Lawless. I've worked with
him before and he's a longtime friend. We'll
just have to wait and see what he has up his
48
sleeve.
Do you have any rituals when practicing or fire. It's every stage manager's nightmare and
performing? every singer's absolute fear. Sometimes the
I am pretty ritualistic. I'll eat at a certain lights get too hot and overheat. We were in
time. I'll leave for the theater at a certain performance and one of the gels which alters
time. I absolutely stick to that because it the color of the light caught on fire and
becomes one less thing to think about. As far fell on stage. Part of the set then burst into
as preparation goes I am a prep queen. I love flames and within second the fire curtain
doing a lot of prep. I take a lot of time to came in. My colleague actually picked me up
look at the score for images and ideas. Side under his arm and carried me to safety. That
note: This is going to be different for me was definitely one of those wild and crazy
as my husband will be singing Basilio and moments that I will never forget.
it's the first time we've ever done an opera In the end, we do live theatre and it is always
together in our 29 years of marriage. We may an adventure and there are always unexpected
have worked for the same company in the things that will happen.
same year but we've never shared the same
stage. It may be different because what if If you were not an opera singer what would you
he wants to eat earlier and go to the theater be?
later. Part of the luxury of traveling for a living is
that I get to spend a lot of time thinking. I
PAT R I C K C A R F IZ ZI BA RTO LO get a lot of time to study, a lot of time to
work, and a lot of time to think. There are
What is the most rewarding aspect of your job? several things that I would do and a few of
them I may very well do later in life. First,
Getting to do what you I would like to be a yoga instructor. I am a
love for a living. It's one huge fan of yoga because it kind of keeps
of the most rewarding me sane. When I am traveling around I get
things I could have ever to practice on my own. The other thing I
imagined. In addition, I would do that is much closer to home is be
love being a story-teller. a teacher...a music teacher, or a voice teacher.
Opera is one of the great I would love to have the ability to help
storytelling art forms. young people learn how to sing and learn
how to play on the stage. Finally, the third
Has anything funny ever happened to you on and most random thing I would love to be
stage? able to do is be a park ranger. After many
So many things have happened. Actually, years of traveling, I've found that there are
something just happened a few weeks ago some really wonderful things about being in
on stage in New York at the Metropolitan isolation. It would be kind of cool to be out
Opera. We have a sword fight in La boheme in nature all of the time. Those would be my
and we use these fire pokers to fight and three choices.
mine literally just broke off at the handle.
There was a first strike and a second strike
but on the third strike I was left with this
tiny brass handle and then about a foot and
a half of the rest of the fire poker went flying
across the stage.
In addition, probably one of the most
memorable moments was when I was in a
production years ago and the stage caught on
49
 P LOT T H E AC T I O N
of The Marriage of Figaro

Use the following plot map CLIMAX

to track the story of The
Marriage of Figaro. You may
find this to be more difficult
than you thought. Can you
remember all of the plot
twists?

FA
L
LI
NG
AC
T
IO
N
IO

N
T
AC
G
N
SI
RI

CONFLICT

RESOLUTION

SETTING CHARACTERS

50
CHARACTER ANALYSIS
Pyramid
Using the character descriptions from The Marriage of Figaro teacher guide, fill out this
graphic organizer for one of the opera’s characters, either individually or in groups. After
filling out the form, take 10 minutes to discuss the characters and how they would interact.

NAME/TITLE

PH YSICA L A PPE A R A NCE

CH A R AC T ER’ S ROL E

C H A R AC T ER’ S PROBL E M S/C H A L L E NGE S

M AJOR ACCOM PLISH M E N T S

51
 AC T I N G T H E STO RY
U s i n g Ta b l e a u s
After reading The Marriage of Figaro, choose A DDITIONA L IDE A S
one of your favorite scenes and act it out with a The tableau doesn’t just have to be a mute
few of your classmates. frozen image. Students can be told in
advance that they will be taped during
W H AT I S A TA BL E AU ? the presentation, and that they will need
In a tableau, participants make still to provide a clue as to who or what they
images with their bodies to represent a scene. represent in the tableau. Alternately,
A tableau can be used to quickly establish the teacher or a student could act as a
a scene that involves a large number of reporter and conduct short interviews with
characters. individuals acting in the tableau. The teacher
might choose to facilitate a discussion with
the audience by highlighting certain tableau
details through questioning.

For example, you could ask, “Why might this

character be smiling?” or “What do you think
this character is thinking?”

Tableaux can also be a series of frozen images

that, together, tell a story with a beginning,
middle, and end. Or, the tableau might be
The cast of The Barber of Seville strikes a pose in this example of
more effective with the music from the opera
a tableau. Photo: Kelly & Massa Photography, 2014
playing. Groups also might want to use slow
motion to transition from one tableau to the
HOW DO YOU M A K E A TA BL E AU ? next.
To begin, give each group an excerpt from
the synopsis (like one scene), and ask After the students create the tableau,
the groups to create a frozen image that encourage them to describe how they think
somehow captures the essence of what is music could enhance the scene that they
going on in the scene. Students must then created. Then ask students to use sounds to
collaborate to decide how to represent the describe the music and back up their ideas
scene in the form of a tableau. No matter with evidence.
what they do, students should carefully craft
their gestures, facial expressions, and physical For a more detailed lesson plan from Opera
poses. America, visit tinyurl.com/OATableaus.

Give groups enough time to plan and For a video to reference of how to create a
rehearse and, when they are ready, have tableau using an opera scene, visit
students present their scenes while the rest of tinyurl.com/OperaTableaus.
the class discusses what they think is going
Sources cited:
on in the tableau. Additionally, one of the learning.blogs.nytimes.com/2012/08/07/scenes-in-tableau-
members of the group can read the scene drama-strategies-to-use-with-any-days-times-part-2/?_r=0
while the other members act it out in tableau. dramaresource.com/tableaux/
Finally, have the class discuss the choices that
went into making that particular tableau.
52
E N T R AV E S T I
Tr o u s e r R ol e s Pa s t a n d P r e s e n t
By Elizabeth McAnally

Did you know that it's been a long-standing practice in opera for male characters to
be performed by a female singer? When the vocal timbre (tone quality) of the countertenor
fell out of favor with audiences after the 17th century, the roles of boys or young men were
often performed by women with a lower range and broader timbre. Today these voices are
called mezzo-sopranos.

In Italian, cross-gender operatic portrayal is called en travesti. In English, these roles

are referred to as trouser roles, pants roles, or breeches roles, to describe the costume of the
female singer dressed as a male character. Mozart wrote trouser roles in several of his operas,
and many other composers did so as well, such as Handel, Rossini, and Gluck. Important
trouser roles include Hansel in Hansel and Gretel, and the title role of Tancredi, performed
earlier this season by Opera Philadelphia.

Can you match the trouser role with the composer?

TROUSER ROLE COMPOSER

Orfeo, from Orfeo ed Euridice Engelbert Humperdinck

Hansel, from Hansel and Gretel Charles Gounod

Tancredi, from Tancredi George Frideric Handel

Julius Ceasar, from Giulio Cesare Gioachino Rossini

Stefano, from Romeo and Juliet Christoph Willibald Gluck

Although trouser roles may seem to be an obscure tradition from centuries-old operas,
we do not need to look very far to find examples of cross-gender acting in modern theater
and cinema. The purpose of writing these roles can vary widely; some are written for comedic
purposes, others are intended to be dramatic, and still others are simply traditionally cast in
this fashion.

Can you match these popular characters with their actor or voice actor?

BART SIMPSON EDNA TURNBLAD ROZ PETER PAN

The Simpsons Hairspray Monsters Inc. Peter Pan (musical)

Allison Williams - Bob Peterson - John Travolta - Nancy Cartwright

53
 W H AT ' S T H E S C O R E ?
A per former's view
By Elizabeth McAnally

Have you ever wondered what is on the music stand of a conductor or orchestra
member during a performance? Have you noticed a small book in front of the musicians,
resting beneath the glow of a small lamp? Musicians often read a score while performing;
the score contains a variety of symbols that represent what, how, and when to play. There are
many different types of scores. In opera, a full score is used by the conductor and includes
all instrumental and vocal parts. An instrumental score only includes the part of a single
instrument (violin, trumpet, clarinet, etc.). A vocal score includes all vocal lines and a piano
line. This piano line summarizes all of the orchestral parts from the full score. Take a look at
the different scores for Figaro's aria "Non più andrai" from The Marriage of Figaro.

VOC A L SCO RE FULL SCORE

The scores you see above contain many

symbols representing both sound
(notes) and silence (rests). Notes are
placed around a staff of five lines and
four spaces, to show which pitches to
perform. Different types of notes are
used to signify how long a pitch should I N S T RUM E N TA L S CO R E
be played. Rests tell musicians when and (VIOLIN)
for how long to be silent.

In addition to notes and rests, scores

LISTEN to a recording
also contain words, abbreviations, and
of Figaro's aria "Non più
other symbols that provide expressive
andrai" and follow along
information. For example, each of the
with the score.What
scores above include the word "vivace"
other symbols do you
which, when translated from Italian,
notice in the score? What
means "lively" and instructs the musician
do you think they mean?
to play at a rather brisk speed.
54
tinyurl.com/nonpiuandrai
THE OVERTURE
of The Marriage of Figaro
By Elizabeth McAnally tinyurl.com/overturefigaro

An overture is an instrumental piece

DY N A M I C S
of music played at the very beginning
of an opera. Overtures help to prepare
the audience by setting the scene and Circle the LOUDEST dynamic you hear
establishing a mood. Many overtures, such
as Mozart's overture to The Marriage of
Figaro, are frequently performed as concert
pieces. Listen to the overture for yourself
and record what you hear! Think about how Circle the SOFTEST dynamic you hear
you would describe this overture to a friend.
After listening to the overture, what can you
predict about the plot of this opera?

TEXTURE
TEMPO
How would you describe the texture?
What is the speed of the over ture?

P R E S TO - Ve r y F a s t THICK
(many instruments and musical ideas)
M O D E R A TO - M o d e r a t e
L E N TO - Ve r y S l o w THIN
(few instruments and musical ideas)

IM AGINE
What image comes to mind when you
MOOD
hear this music? Draw it in the space
b e l o w.
Place an X
next to the words
that DON'T match the music.

J O LLY S LEEPY
CA LM E X C I TE D
JUMPY BUSY
ANGRY P EA C EFU L
SORROWFUL

55
 WRITING A REVIEW
of the Opera
A review is an opinionated piece of writing. It is an opportunity for someone to
communicate their likes and dislikes about a particular event. A good theater review takes
into consideration all of things that happened on stage. Before writing a review, it is good to
organize one's thoughts. Use the following template to review The Marriage of Figaro.

JOIN OUR BLOG! - When you finish writing your review, consider submitting it online!
Opera Philadelphia would love to hear your thoughts about the production. Just remember to
include your name, school, and grade. Visit: operaphillysol.blogspot.com.

PL O T & CH A R AC T ER S
Did the performance tell the story dramatically, and were you engaged in the plot?
Summarize the main characters and conflict briefly in this opening paragraph.

M USIC & VOICES

Did the music carry the characters and action forward? Were there particular voices, arias or
duets that added to your involvement in the conflict?

S TAGI NG
How did the sets, costumes, and staging enhance or undermine the plot?

SET TING
Make note of the time and location where the opera takes place. Is it the same setting the
composer imagined, or has it been updated? If it has been updated, does the change add to
the power of the piece, or is it a distraction?

Y O U R O P I N I O N (After the performance)

Would you recommend the performance to your friends or family? Explain why or why not.

56
MAKE A
Synopsis
A synopsis is a concise summary or brief statement of events. In writing a synopsis, the main
points or ideas are written and the supporting details are left out. To do this successfully, we
judge which facts or details are the most important.

Often you are asked after a day of school, “How was your day?” or “What did you learn today?”
You know how to answer these questions because you know what the important things you
did were.

1. B efore or after you see the opera, in a small group, examine the main characters of The
Marriage of Figaro. How did the actions of the characters move the plot forward? What
were the most important things that happened?
2. M ake a word bank of the main characters. List important adjectives that describe their
character traits. Then list the verbs or action words which highlight their actions.

CH A R AC T ER S DESCR IP TI V E AC T IONS
A DJECTIV ES

Now write a brief account of Act I of the opera. See which member of your group wrote the
most comprehensive synopsis.

Use additional paper if needed.

57
 2 016 – 2 017
Season Subscriptions
Review the charts of Opera Philadelphia’s performance season and prices. Then answer the questions below.

2 016 – 2 017 S E A S O N S E R I E S C H A R T
SERIES NA ME
PRODUC T ION
Sun. One Sun. Two Wed. One Fri. One Fri. Two
C U RTA I N T I M E S 2:30 p.m. 2:30 p.m. 7:30 p.m. 8:00 p.m. 8:00 p.m.

TUR ANDOT 9.25.16 10.2.16 9.28.16 9.23.16 9.30.16

TA NCR E DI 2.12.17 2.19.17 2.15.17 2.10.17 2.17.17

T H E M A R R I AGE OF
F IGA RO
4.30.17 5.7.17 5.3.17 4.28.17 5.5.17

2 016 – 2 017 S E A S O N S U B S C R I P T IO N PR I C E C H A R T
SE AT I NG SU BSCR IP TION PR ICES S I N G L E -T I C K E T P R I C E S
L O C AT ION Sundays Weekdays Sundays Weekdays
Pa rquet Box / Ba lcony Box $645 $645 $215 $215
Pa rquet Premium $537 $438 $179 $161
Pa rquet $429 $402 $143 $134
Pa rquet Ba la nce/Center Pa rquet
Ci rcle/Center Ba lcony Ci rcle/ Ba lcony $384 $321 $116 $107
L o g e / P r e m iu m Fa m i l y C i r c le
Side Pa rquet Circle/Side Ba lcony
C i r c le / Fr ont Fa m i l y C i r c le
$267 $240 $89 $80
P r o s c e n iu m B o x / Fa m i l y C i r c le /
Side Balcony Circle/Premium $186 $186 $62 $62
A mphitheatre

Center A mphitheatre $132 $105 $44 $35

S id e Fa m i l y C i r c le /
Side A mphitheatre
$51 $51 $17 $17

1. Tancredi will be performed on what day, date, and time in the Wednesday Series?
2. If a new subscriber buys 4 subscriptions for the Weekday Series in the Balcony Loge, what does he/
she pay?
3. Which performance occurs closest to Valentine’s Day?
4. Which series have the same curtain time?
5. O
 n Sundays, what is the cost of the subscription for a parquet or balcony box and of an individual
ticket?
6. H ow much more does a person pay when buying single tickets to all the operas in the Parquet Floor
section on Fridays than the person who buys a subscription in the parquet? What is the percentage
of savings of a parquet subscription over four individual tickets?
58
 I N V E ST I N
Grand Opera
Many adults have trouble understanding charts and graphs, which are used in daily life. Study
the information and then see if you can answer the questions below.

We want you to join our family of donors. In fact, we need you, as only 20% of our costs are met
through ticket sales. Your contribution is critical to our success!

DONOR BENEFITS
NAME GIF T LEV EL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

$100 Contributor x x x
$250 Supporter x x x x x
Member
$500 Sustainer x x x x x x
$1,000 Partner x x x x x x x x
$2,500 Bronze x x x x x x x x x x x x
Pa t r o n
$5,000 Silver x x x x x x x x x x x x x
Program
$7,500 Gold x x x x x x x x x x x x x x
$10,000 Diamond x x x x x x x x x x x x x x x x x
Genera l
D i r e c t o r ’s $15,000 Platinum x x x x x x x x x x x x x x x x x x
Council
$25,000+ Chairman’s
Council x x x x x x x x x x x x x x x x x x x x x x

1. Save up to 10% on single ticket and event purchases 12. VIP Coat check and private restrooms at performances
2. Between the Notes—a lecture series that delves into each 13. M eet the Artists—an intimate reception with the cast of a current
production of the season given by scholarly guest speakers production
3. Discover Opera---an in depth lecture series that explores broad 14. D irector’s Salon—an event featuring a presentation from the
aspects of the art form creative team of a current production
4. E merging Artist Recital & Member Appreciation Reception 15. Invitation to one pre-performance dinner or brunch
5. Mailed copy of the Annual Report 16. O pening Night Cast Party—celebrate with the cast after each
6. Invitation for two to attend a dress rehearsal opening night of the season
7. General Director's Backstage Tour of the Academy of Music 17. General Director’s Council Dinner with principal artists
8. Access to the VIP area at Opera on the Mall, the annual HD 18. Post-performance meet-and-greets with the cast
broadcast 19. O pportunity to underwrite an Emerging Artist, community
9. V IP Patron Service—personalized concierge service with dedicated initiative, or event
phone line for priority in ticketing, seating, and exchange requests 20. Invitation to the Annual Chairman’s Opening Night Dinner
10. Champagne Intermission Receptions in the Academy Ballroom 21. E xclusive dinners and events throughout the season with celebrity
and at the Kimmel Center, along with two guest passes per season artists, hosted in private homes
11. Patron Travel Program—join the Opera on group destination 22. B runch or Dinner with the General Director and/or Opera
opera trips leadership before underwritten performances

1. How many benefits would you receive if you donated $10,000? What is your gift level?
2. List the benefits of someone who is at the Gold Patron gift level.
3. Which giving level is the first to receive VIP Patron Service?
4. At which giving levels would you get a private backstage tour for you and your guests?

59
 GLOSSARY

A B O L I S H — [ u h - B O L - i s h ] V. to do away with; put an end to

AC C O M P L I C E — [u h - KOM - p l i s] N . a person who knowingly helps another in a crime or 
wrong doing
A N T I C I PAT I O N — [ a n - t i s - u h - P E Y - s h u n ] N . realization in advance; expectation or hope
APHRODITE — [ a f - r u h - D A H Y - t e e ] N . the ancient Greek goddess of love and beauty
CAPRICIOUS — [ k u h - P R E E - s h u h s ] A D J . subject to, led by, or indicative of a sudden, odd 
notion or unpredictable change
C A S A N OVA — [ k a - s u h - N O - v u h ] N . a man who charms or attempts to charm women.
CONTRADICT — [ k o n - t r u h - D I K T ] V. to assert the opposite of; deny directly
CREDITOR — [ K R E D - i - t e r ] N . a person or firm to whom money is due (opposed to debtor)
CUNNING — [ K U H N - i n g ] N . skill employed in a shrewd or sly manner, as in deceiving
DEMURE — [ d i h - M Y O O R ] A D J . characterized by shyness and modesty; reserved
DESCENDS — [ d i h - S E N D S ] V. to go or pass from a higher to a lower place
DE TAI N — [ d i h - T E Y N ] V. to keep from proceeding; keep waiting; delay
D I S C R E E T LY — [ d i h - S K R E E T - l y ] A D V. careful in one's actions or speech
DISHEVELED — [ d i h - S H E V - u h l d ] A D J . hanging loosely or in disorder
DOWRY — [ D O U - r e e ] N . the money or goods that a wife brings to her husband at marriage
FA N DA N GO — [ f a n - D A N G - g o h ] N . a lively Spanish or Spanish-American dance in 
triple time, performed by a man and woman playing castanets
FORFEIT — [ F A W R - f i t ] N . a fine; penalty; something to which the right is lost, as for
commission of a crime or misdeed, neglect of duty, or violation of a contract.
GALL ANT — [ G A L - u h n t ] A D J . brave, spirited, noble-minded, or chivalrous.
HAUGHT Y — [ H A W - t e e ] A D J . disdainfully proud; snobbish; scornfully arrogant; supercilious
INDULGENCE — [ i n - D U H L - j u h n s ] N . the act or practice of indulging; gratification of desire
KEEN — [ k e e n ] A D J . finely sharpened, as an edge; so shaped as to cut or pierce substances
readily; sharp, piercing, or biting
PROVOKE — [ p r u h - V O H K ] V. to anger, enrage, exasperate
PROXIMIT Y — [ p r o k - s i m - i - T E E ] N . nearness in place, time, order, occurrence, or relation
RASH — [ r a s h ] A D J . acting or tending to act too hastily or without due consideration
REELING — [ R E E L - i n g ] A D J . being awestruck, shocked to comprehend anything
RELENT — [ r i - L E N T ] V. to soften in feeling, temper, or determination; become more mild,
compassionate, or forgiving; to become less severe; slacken

60
THE SCHOOL DISTRICT Sounds of Learning™ was established by a Written and produced by:
OF PHILADELPHIA SCHOOL generous grant from The Annenberg Foundation. Opera Philadelphia Community
REFORM COMMISSION Initiatives Department © 2017
Dedicated funding for the Sounds of Learning™ 1420 Locust Street, Suite 210
Marjorie Neff, Chair
program has been provided by: Philadelphia, PA, 19102
William J. Green, member
Tel: 215.893.5927
Farah Jimenez, member
Fax: 215.893.7801
Christopher McGinley, member THE WILLIAM PENN FOUNDATION
operaphila.org/learn
William R. Hite, Jr., Ed.D WALLY LOEB
Superintendent of Schools Michael Bolton
Vice President, Community Initiatives
bolton@operaphila.org
Wells Fargo
Steven Humes
Hamilton Family Foundation Education Manager
Universal Health Services humes@operaphila.org

Veronica Chapman-Smith
Community Programs Assistant
OPERA PHILADELPHIA Deluxe Corporation Foundation chapman-smith@operaphila.org
David B. Devan Eugene Garfield Foundation Katie Kelley
General Director & President Graphic Designer
Corrado Rovaris The Hirsig Family Fund of the Philadelphia dune@operaphila.org
Jack Mulroney Music Director Foundation

Michael Bolton Morgan Stanley Foundation Special thanks to:

Vice President, Community Initiatives
Frank Machos
Victory Foundation Director of Music Education, School
District of Philadelphia
The McLean Contributionship
The Office of Strategic Partnerships
Louis N. Cassett Foundation School District of Philadelphia

Deborah Bambino
Dr. Dan Darigan
Karl Janowitz
Joann Neufeld
Elizabeth McAnally
Curriculum Consultants
Opera Philadelphia is supported by major grants from The William Penn
Foundation, the Wyncote Foundation, and The Pew Charitable Trusts. Dr. Bettie Joyner Kleckley
Dr. Nanci Ritter
Program Evaluators
Additional support is provided by the Independence Foundation and the
Horace W. Goldsmith Foundation. Maureen Lynch
Opera Philadelphia receives state arts funding support through a grant Operations Manager, Academy of Music
from the Pennsylvania Council on the Arts, a state agency funded by
Frank Flood
the Commonwealth of Pennsylvania. Support provided in part by the Assistant Operations Manager, Academy
Philadelphia Cultural Fund. of Music

Cornell Wood
Head Usher, Academy of Music

Academy of Music Ushers

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