Le Nozze di Figaro by Pierre de Beaumarchais

 Le Nozze di Figaro by Pierre de Beaumarchais

 

Figaro is worldwide famous and appreciated as a masterpiece, but much more because of the music composed by Mozart and less for the contribution of the “original” author, Beaumarchais.

 

For all its strengths, the comedy is not one of the greatest works man has ever created. It is funny, witty and made glorious by the work of the genius of Mozart.

Speaking of which, Malcolm Gladwell comes to mind, with his amazing book- Outliers. In it he analyses the concept of genius and the importance of hard work. In Gladwell’s view, it is not so much “innate genius” so much as hard work and practice that make a man or woman great.

In his study of Mozart, The Beatles, bill Gates, top athletes and other Outliers, Malcolm Gladwell reaches the conclusion that 10,000 hours of work and practice, over ten years, will send the apprentice on the top of the world and at the peak of his profession.

Mozart, known as a child prodigy, has composed worthwhile music only at the age of about twenty six, if I remember well. This makes Mozart a kind of a late bloomer, in the light of the ten years theory.

Coming back to Il Nozze di Figaro, the plot reminds me of a soap opera, genre which got its inspiration from the likes of Figaro and Oedipus. At one point, we barely miss a wedding between the son and his unknowing mother.

I remember seeing Amadeus, directed by Milos Forman, with a wonderful Abraham Murray as Salieri, for which he won the Academy Awards, in competition with Tom Hulce, for his role as Amadeus.

At one point in the film, Mozart brings up the idea of using an Italian comedy for the libretto, which raises more than eyebrows and opposition…met with his funny laugh:

-          Hahahha

Everybody seems to be in love with everyone else in Il Nozze di Figaro. The count Almaviva loves Suzanne, but she loves Figaro, who is also wanted by Marceline. Cherubin is in love with everyone and has an aria which is quoted here, below.

There are unexpected turns of events, Cherubin has to hide in the closet, which is a scene we get in many movies ever since. Deceit is used by almost all parties involved and the feeling is uneasy at times.

Promises are made only to be broken and all in the name of love, which seems to conquer all and justify all, perhaps more so in the South, where the blood is hot.

Figaro borrows some money from Marceline and the condition is that he will either pay back or marry the woman, who is old enough to be his mother…

The affair comes up in court, where there is laughter:

-          How can I make a promise to marry the woman And pay her money…it’s crazy

-          It is marry or pay not – marry and pay

-          It is not… and so on

Then there is a disguise, a jump from the bedroom and various disputes and quarrels, but if you ask me, all this is nice and good with music, without it is not so much fun…not for this reader, but hey, you may love it.

 

“Voi che sapete che cosa e amor,
Donne, vedete, s'io l'ho nel cor,
Donne, vedete, s'io l'ho nel cor.
Quello ch'io provo, vi ridiro,
E per me nuovo capir nol so.
Sento un affetto pien di desir,
Ch'ora e diletto, ch'ora e martir.
Gelo e poi sento l'alma avvampar,
E in un momento torno a gelar.
Ricerco un bene fuori di me,
Non so chi il tiene, non so cos' e.
Sospiro e gemo senza voler,
Palpito e tremo senza saper,
Non trovo pace notte ne di,
Ma pur mi piace languir cosi.
Voi, che sapete che cosa e amor
Donne, vedete, s'io l'ho nel cor,
Donne, vedete, s'io l'ho nel cor,
Donne, vedete, s'io l'ho nel cor.”