Le nozze di Figaro at Theater an der Wien

Mozart knew Paisiello's Barbiere good, the opera was a great success in Vienna was shown in 1783, and the two composers had also met the following year. Then, when the second piece to this bustling barber successful and rich scandal came out in Paris, was the idea that the success of Paisiello based on the new Beaumarchais-piece emulate obvious. Mozart and Da Ponte, however, had significantly defuse in order to get to the performance of her opera project at the Vienna Court Opera permission can diepolitisch explosive template. In the libretto Ponte has since worked out especially the diffizilen emotional relationships between the characters, and Mozart's compositional art thus provided a congenial Template: His music deepens the characters to an extent that was hardly achieved in the history of opera so and makes the comedy a psychological drama .

A few years have passed since the events in Seville to the marriage of Rosina with the Count, the love between the count's pair is now cooled somewhat. The Count is looking for new, worthy objects of his favor, and the Countess is revered by the young page Cherubino. Figaro is, however, remained in the service of the Count and now wants to Susanna, the Countess's maid married. In the 18th century, the nobles had the "jus prima noctis", the right of first night: the Lord stood by to deflower the bride of subjects before the groom. Count Almaviva wants to around 1780 show as enlightened and creates this right to his possessions from. But given the lovely Susanna repents his progressiveness. For now he can not insist on his right, he must use seduction and cunning to get Susanna in his snaps. But Figaro and Susanna assert their new erotic autonomy as a couple, they parry list successfully with counter list and the count is in his servant, a worthy opponent.