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Essay / Research Paper Abstract
A 5 page research paper in which the writer offers an analysis of The Marriage of Figaro by exploring the amalgamation of genius that is represented in this opera, as it combines the musical genius of Mozart with the brilliance of Lorenso da Ponte's libretto. The writer does this by focusing on the characterization of the Countess in Act II of this classic opera, and also on how Mozart's music complements the characterization as it is established through the medium of the libretto. Bibliography lists 3 sources.
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5 pages (~225 words per page)
File: D0_khfigii.rtf
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to discern his joyous love of life, his melancholy and all the other impulses of his fascinating and multi-faceted personality (Machlis 209). In Lorenzo da Ponte, an Italian-Jewish adventurer and
poet, Mozart found a librettist whose talent was a perfect match for his own. The following analysis of The Marriage of Figaro explores the amalgamation of their genius by focusing
on the characterization of the Countess in Act II of this classic opera, and also on how Mozarts music complements the characterization as it is established through the medium of
the libretto. Background It is helpful to understanding the manner in which the music complements the action in Act II to have an overall view what is transpiring in
this act. Basically, in the first act, the audience finds out that Figaro, valet to Count Almaviva, wishes to marry Susanna, the Countess Almavivas maid. However, the Count has designs
on Susanna himself. At the beginning of Act II, Susanna and the Countess are both in despair over the Counts infidelity. Figaro suggests a plan intended to make the Count
jealous and goes to find Cherubino, a page introduced in Act I, to disguise him as Susanna. There ensues a series of comic complications of mistaken identity that serve to
underscore the tension between the Count and Countess Characterization of the Countess The Countess is alone on the stage when the audience first
meets her at the beginning of Act II (Liebner 105). She sings a cavatina in E flat major, which Mozart treats in a solemn manner. The music is richly
orchestrated, and has an usual introduction that is both reserved and disciplined, but also reflects "sincere emotions, as the music takes on a tender, and rather sensual tone (Liebner 105).
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