The play "The Marriage of Figaro" by Beaumarchais and its success. "Crazy Day, or The Marriage of Figaro"

"Crazy Day, or The Marriage of Figaro"- a play by Beaumarchais, the second of the trilogy about Figaro. Known for inspiring Mozart to create the opera of the same name.

"The Marriage of Figaro" summary

Act one

In the castle of Count Almaviva, preparations are being made for the wedding of his valet Figaro and Suzanne, the maid of the Count's wife Rosina. This event becomes the cause of many incidents, because with the count you need to keep your eyes open. Take, for example, his gift: he gave the young people a room that connects his chambers with the countess’s chambers. Before the gentlemen have time to call them, Figaro and Suzanne are right there. Figaro likes the room, but Suzanne... What's wrong with it? She resolutely refuses this sign of attention from the count. Where is your usual intelligence, Figaro? After all, Almaviva probably wants to take advantage of the right of the first night! It immediately became clear to Suzanne real reason count's mercy. Figaro is amazed. The Count, after his marriage to Rosina, announced the abolition of this custom. Be that as it may, Figaro will not allow himself to be fooled. He serves his master well, but he will be able to stand up for his honor. The count's housekeeper Marcelina and her old lover, Doctor Bartolo, are trying to prevent the marriage of Figaro and Suzanne. Bartolo still hasn’t forgotten how the clever barber fooled him by arranging Almaviva’s marriage to the beautiful Rosina. Now the vengeful old man decided to take this opportunity to deal with Figaro. At one time, Figaro borrowed money from Marcelina and undertook in writing to marry her in case of non-payment. By suing Marcelina, the cunning Bartolo hopes to disrupt the wedding of the independent Figaro, despite the fact that Marcelina is still interested in his blood. Suzanne is seriously concerned about the current situation. She listens with interest to the young page Cherubino, who talks about his love for the countess. However, he is not the only one who has tender feelings for her. The young man is in love with all the women of the castle and therefore often gets into unpleasant troubles. Just recently, the count found him alone with Barbarina, the young niece of the gardener Antonio, and, angry, ordered the young man to be expelled from the castle. Only the intercession of the countess can soften Almaviva’s anger, and Cherubino asks Suzanne to put in a good word for him with her mistress. But, as luck would have it, the Count appears. Hearing his approach, Cherubino hides in fear behind a chair and unwittingly witnesses Almaviva asking for a date with Suzanne. However, his lordship has to follow the example of the page. Not wanting the visiting singing teacher Basilio to find him alone with Susanna, Almaviva hides. He hears Basilio's story about Cherubino's love for the Countess. Beside himself with indignation, the Count jumps out from his hiding place and becomes furious when he sees Cherubino. The page would have been in trouble if it weren't for Suzanne. Hinting that Cherubino had witnessed the count's outpourings, the girl somewhat moderated her master's anger. The count's embarrassment increases even more when he has to listen to the peasants who came to thank the lord for abolishing the feudal right of the first night. The peasants were brought to the castle by Figaro, who is in a hurry to celebrate his wedding with Suzanne. Almaviva has no choice but to allow the wedding and graciously agree to be a guest at it. Taking advantage of the Count's confusion, Cherubino begs for forgiveness. But he must immediately go to the regiment, to military service. Figaro demonstrates to the spoiled page the “horrors” of military service.

Act two

Countess's room. Suzanne, the Countess and Figaro decide to teach the Count a lesson. Suzanna must promise Almaviva a date, but instead of her, Cherubino appears at the meeting place in disguise. They barely had time to dress the page in Suzanne’s dress when he was forced to hide in the next room, because Almaviva’s steps were heard. However, it did not escape the attention of the jealous count that the door to the room was locked. He demands a key from Rosina and, not receiving it, goes to get a tool to break open the door. The Countess is forced to obey her husband and accompany him. Taking advantage of this, Suzanne enters the room, and Cherubino jumps out the window. The Count is triumphant; now he will convict his wife of treason. The door is broken open and Suzanne comes out of the room. The disgraced Almaviva is forced to ask his wife for forgiveness. But the gardener Antonio suddenly appears with a broken flower pot. Someone jumped out of the window and broke the flowers. The Countess and Suzanne are rescued by the resourceful Figaro. He states that he just jumped out of the window himself. The Count is confused. The arrival of Bartolo, Basilio and Marcelina changes the situation dramatically. The claim of the old duenna was presented for payment. Figaro does not have the money to pay off his debt - he will have to answer to the court.

Act three

Hall in the castle. The court decided the case in Marcelina's favor, but Figaro manages to avoid marrying a duenna. Suddenly it turns out that he is the son of Marcelina and Bartolo, kidnapped in infancy. The overjoyed parents decide to celebrate their own wedding today along with the wedding of their newly found son. Figaro notices that the Count is reading some kind of note. In it, Suzanne made an appointment with the Count. Previously, she agreed with the countess to exchange a dress with her, and at night his own wife, dressed as Suzanne, would come to Almaviva’s garden. The note is pinned up. If the Count agrees to be at the agreed place at the agreed hour, he must return the pin to Suzanne. Figaro suspects something is wrong and decides to keep an eye on the count.

Act four

Garden of Almaviva Castle. In the light of the moon, Barbarina is looking for a pin lost in the grass. When Figaro asks why she is doing this, the girl replies that, by order of the Count, she must deliver the pin to Suzanne. Struck by the bride’s treachery, Figaro decides to set up an ambush and lie in wait for Suzanne and the Count. The appearance of Suzanne dressed as a Countess and the Countess in Suzanne's dress gives rise to amusing misunderstandings. In the end, everything unravels and becomes clear. The Count begs his wife for forgiveness, and Rosina gives in to his pleas. A crazy day ends with a fun celebration.

V.A. Mozart opera "The Marriage of Figaro"

A sparkling, brilliant comedy based on the play by French playwright Pierre Augustin Beaumarchais “A Crazy Day, or the Marriage of Figaro.” The libretto for the opera was significantly revised by the Italian poet and translator Lorenzo da Ponte. One of the most beautiful pearls of opera art, which meets constant applause and admiration from the public everywhere.

Characters		Description
Figaro	baritone	Count's valet, cunning rogue
Suzanne	soprano	maid and chambermaid of the Countess, fiancee of Figaro
Count Almaviva	bass	Spanish nobleman under whom Figaro and Susanna serve
Countess Rosina	soprano	wife of Count Almaviva
Cherubino	soprano	the count's page, young ladies' man
Marcelina	soprano	housekeeper in the castle, creditor of Figaro
Bartolo	bass	doctor, friend and confidant of Marcelina, secretly in love with her
Basilio	tenor	music teacher, chief gossip of the castle
Curzio	tenor	the judge who allowed the comic trial of Figaro
Antonio	bass	Count Almaviva's gardener
Barbarina	soprano	gardener Antonio's daughter
Servants, peasants

Summary

Opera buffa (“buffa” - Italian for “joke”) illustrates a sitcom. Situations on stage change rapidly, the plot develops rapidly. Constant confusion and confusion associated with dressing up a man in women's dress – characteristic features folk opera of that time as a genre. Many principles of the art of slapstick can be seen in today's successors of this genre - film comedies: parodies, fluidity of plot development, satirical orientation of everyday plots.

The opera has 4 acts in 2 acts. The whole plot develops in the Spanish castle of Count Almaviva. The central event of the plot is the upcoming marriage of the main characters, Figaro and Suzanne. Both serve the count and countess in the castle. According to ancient feudal custom, the lord had the right to the “first wedding night.” Almaviva abolished this rule after his marriage. But for how long?

The count, jealous of his own wife, pursues every pretty woman. This becomes the object of Figaro's ridicule and a reason to teach him a lesson. In the course of numerous collisions, the witty servant Figaro several times defeats his master and places him in “his place” - at the end of the action, the disgraced count asks for his wife’s forgiveness on his knees.

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Interesting Facts

Popular arias:

“Se vuol ballare” (“If the count wants to dance”) - Figaro’s aria, Act I, scene II (listen)

“Non più andrai” (“A frisky, curly-haired boy in love”) - Figaro’s aria, Act I, scene VIII (listen)

“Porgi, amor, qualche ristoro” (God of love, give consolation) - countess’s aria, Act II, scene I (listen)

“Venite, inginocchiatevi” (“Come…”) - Suzanne’s aria, Act II, scene II (listen)

“Voi, che sapete” (The heart worries) - Cherubino’s aria, Act II, scene II (listen)

History of creation

Mozart began work on the opera in December 1785. However, he considered the very idea of its creation at the beginning of 1782. The plot was based on a comedy by Beaumarchais, which was initially banned in Austria due to its resonant content at that time. At home in France, the production caused unrest as it coincided with pre-revolutionary sentiments. Librettist Lorenzo da Ponte was able to obtain permission to continue working on the opera, convincing Emperor Joseph II that he had shortened the most dangerous moments, and the main plot would be perceived less sharply thanks to the setting of music.

The revolutionary idea of the play lay in the previously unheard of audacity to compare the personal qualities of a representative of the lower class and a feudal lord. In this contrast, the footman Figaro, with the help of wit, resourcefulness and enterprise, several times embarrasses his master Count Almaviva. The integrity of the master class was criticized for the first time.

The topic was close to Mozart - musicians as a class in those days were not respected. It is known for certain that Mozart, with early childhood who performed in the royal houses of Europe, was distinguished by a rare sense of self-esteem. Without exaggerating the importance of his own person, but also without belittling the divine talent, he was acutely aware of the class difference.

The musical dramaturgy of the opera also turned out to be revolutionary. In The Marriage of Figaro, music clearly played a dominant role - the characters’ characters and the severity of the intrigues were revealed exclusively through musical means. Here the composer has surpassed himself in honing the strokes, the slightest nuances and details. Previously, in musical performances the leading place was given to the libretto, recitative was used to develop the plot, and arias had a “decorative” purpose - in them the artists demonstrated the capabilities of their voices. Mozart has a continuous development of the plot throughout the entire opera, music is organically woven into it, at the same time serving as an addition to the characters and receiving its own dramatic development.

Opera has always been the composer's favorite genre. Thanks to rich tools expressive means- music, the combination of voice and instruments, theatrical possibilities and scenery - in opera you can fully realize your talent for composing music. Mozart is rightfully considered the greatest melodist. Having absorbed and reworked the features of German folk song and Italian cantilena, his melody and harmony are distinguished by clarity, purity and extraordinary emotionality. Even in instrumental works one can often recognize the signs of opera - in the contrast of characters/themes, in the development of the musical fabric.

For Mozart himself, “The Marriage of Figaro” became his most beloved opera. In life he was a very observant person, the accuracy of his characteristics amazed everyone who interacted with him. Spontaneous and easy-going, loving fun and cheerfulness, Wolfgang often made fun of those around him, ridiculing himself, including. In his work on “The Marriage of Figaro,” his talent for subtly feeling and conveying the psychological aspects of people’s relationships was revealed in the most brilliant form.

The action takes place over one crazy day in the castle of Count Almaviva, whose household in this short time manages to weave a dizzying intrigue with weddings, courts, adoptions, jealousy and reconciliation. The heart of the intrigue is Figaro, the count's housekeeper. This is an incredibly witty and wise man, the count's closest assistant and adviser in normal times, but has now fallen out of favor. The reason for the Count's dissatisfaction is that Figaro decides to marry the charming girl Suzanna, the Countess's maid, and the wedding should take place on the same day, everything goes well until Suzanne tells about the Count's idea: to restore the lord's shameful right to the bride's virginity under the threat of disrupting the wedding and deprive them of their dowry. Figaro is shocked by such baseness of his master, who, without having time to appoint him as a house manager, is already planning to send him to the embassy in London by courier in order to calmly visit Suzanne. Figaro vows to deceive the voluptuous count, win Susanna and not lose her dowry. As the bride says, intrigue and money are his element. The wedding of Figaro is threatened by two more enemies. The old doctor Bartolo, from whom the count, with the help of the cunning Figaro, kidnapped his bride, found an opportunity, through his housekeeper Marcelina, to take revenge on the offenders. Marcelina is going through the court to force Figaro to fulfill his debt obligation: either return her money, or marry her. The Count, of course, will support her in her desire to prevent their wedding, but thanks to this, her own wedding will be arranged. Once in love with his wife, the count, three years after his marriage, slightly lost interest in her, but love was replaced by frenzied and blind jealousy, while out of boredom he chases after beauties throughout the area. Marceline is head over heels in love with Figaro, which is understandable: he does not know how to get angry, is always in a good mood, sees only joys in the present and thinks just as little about the past as about the future. In fact, it is Dr. Bartolo's direct duty to marry Marcelina. They were to be united in marriage by a child, the fruit of forgotten love, stolen in infancy by the gypsies. The Countess, however, does not feel completely abandoned; she has an admirer - His Excellency's page Cherubino. This is a charming little prankster, going through a difficult period of growing up, already realizing himself as an attractive young man. The change in worldview completely confused the teenager; he takes turns courting all the women in his field of vision and is secretly in love with the Countess, his godmother. Cherubino's frivolous behavior displeases the count, and he wants to send him to his parents. The boy, in despair, goes to complain to Suzanne. But during the conversation, the Count enters Suzanne’s room, and Cherubino hides behind a chair in horror. The Count already bluntly offers Suzanne money in exchange for a date before the wedding. Suddenly they hear the voice of Basil, a musician and pimp at the count's court, he approaches the door, the count, in fear that he will be caught with Suzanne, hides behind a chair where Cherubino is already sitting. The boy runs out and climbs up into the chair, and Suzanne covers him with a dress and stands in front of the chair. Basil is looking for the count and at the same time takes the opportunity to persuade Suzanne to accept his master’s proposal. He hints at the favor of many ladies towards Cherubino, including her and the Countess. Overcome by jealousy, the count gets up from his chair and orders the boy, who is trembling under his cover, to be sent away immediately. He pulls off the dress and discovers a small page underneath. The Count is sure that Suzanne had a date with Cherubino. Furious that his sensitive conversation with Suzanne was overheard, he forbids her to marry Figaro. At the same moment, a crowd of smartly dressed villagers appears, led by Figaro. The cunning man brought the count's vassals to solemnly thank their master for abolishing the lord's right to the bride's virginity. Everyone praises the count’s virtue, and he has no choice but to confirm his decision, cursing Figaro’s cunning. They also beg him to forgive Cherubino, the count agrees, he makes the young man an officer of his regiment, with the condition that he immediately leave to serve in distant Catalonia. Cherubino is in despair that he is breaking up with his godmother, and Figaro advises him to pretend to leave and then return to the castle unnoticed. In retaliation for Suzanne's intransigence, the Count plans to support Marcelina at the trial and thus disrupt Figaro's wedding. Figaro, meanwhile, decides to act with no less consistency than his Excellency: to moderate his appetites for Suzanne, instilling the suspicion that his wife is also being encroached upon. Through Basil, the Count receives an anonymous note that a certain admirer will seek a date with the Countess during the ball. The Countess is outraged that Figaro is not ashamed to play with the honor of a decent woman. But Figaro assures that he will not allow himself to do this with any woman: he is afraid of hitting the mark. Bring the Count to white heat - and he is in their hands. Instead of having a pleasant time with someone else’s wife, he will be forced to follow on the heels of his own, and in the presence of the Countess, he will no longer dare to interfere with their marriage. Only Marceline needs to be feared, so Figaro orders Suzanne to make an appointment with the Count in the evening in the garden. Instead of the girl, Cherubino will go there in her costume. While his Excellency is hunting, Suzanne and the Countess must change Cherubino’s clothes and hair, and then Figaro will hide him. Cherubino arrives, they change his clothes, and touching hints slip between him and the countess, speaking of mutual sympathy. Suzanne went out to get some pins, and at that moment the Count returns from hunting ahead of schedule and demands that the Countess let him in. It is obvious that he received the note composed by Figaro and is beside himself with rage. If he discovers a half-naked Cherubino, he will shoot him on the spot. The boy hides in the toilet room, and the Countess, in horror and confusion, runs to open the box. The Count, seeing his wife's confusion and hearing noise in the dressing room, wants to break down the door, although the Countess assures him that Suzanne is changing clothes there. Then the count goes to get his tools and takes his wife with him. Suzanne opens the dressing room, releases Cherubino, who is barely alive from fear, and takes his place; the boy jumps out of the window. The Count returns, and the Countess, in despair, tells him about the page, begging him to spare the child. The Count opens the door and, to his amazement, finds Suzanne there laughing. Suzanne explains that they decided to play a prank on him, and Figaro himself wrote that note. Having mastered herself, the countess reproaches him for coldness, groundless jealousy, and unworthy behavior. The stunned count, in sincere repentance, begs for his forgiveness. Figaro appears, the women force him to admit that he is the author of the anonymous letter. Everyone is ready to make peace when the gardener comes and talks about a man who fell out of the window and crushed all the flower beds. Figaro hurries to make up a story about how, frightened by the count’s anger because of the letter, he jumped out the window when he heard that the count had unexpectedly interrupted the hunt. But the gardener shows the paper that fell from the fugitive's pocket. This is the order appointing Cherubino. Fortunately, the Countess recalls that the order was missing a seal; Cherubino told her about this. Figaro manages to get out: Cherubino allegedly passed through him an order on which the count should put a seal. Meanwhile, Marcelina appears, and the Count sees in her an instrument of Figaro's revenge. Marcelina demands Figaro's trial, and the Count invites the local court and witnesses. Figaro refuses to marry Marceline because he considers himself to be of noble rank. True, he does not know his parents, since he was kidnapped by gypsies. The nobility of his origin is proven by the sign on his hand in the form of a spatula. At these words, Marcelina throws herself on Figaro's neck and declares him her lost child, the son of Doctor Bartolo. The litigation thus resolves itself, and Figaro finds a loving mother instead of an enraged fury. Meanwhile, the Countess is going to teach the jealous and unfaithful Count a lesson and decides to go on a date with him herself. Suzanne, under her dictation, writes a note in which the Count is scheduled to meet in a gazebo in the garden. The Count must come to seduce his own wife, and Suzanne will receive the promised dowry. Figaro accidentally learns about the appointment, and, not understanding its true meaning, loses his mind from jealousy. He curses his unfortunate fate. In fact, no one knows whose son, stolen by robbers, brought up in their concepts, he suddenly felt disgusted with them and decided to follow an honest path, and was pushed back everywhere. He studied chemistry, pharmacy, surgery, was a veterinarian, playwright, writer, publicist; As a result, he became a wandering barber and lived a carefree life. One fine day, Count Almaviva arrives in Seville, recognizes him, Figaro married him, and now, in gratitude for the fact that he got the count a wife, the count decided to intercept his bride. An intrigue ensues, Figaro is on the verge of death, he almost marries his own mother, but at this very time it becomes clear who his parents are. He saw everything and was disappointed in everything during his difficult life. But he sincerely believed and loved Suzanne, and she betrayed him so cruelly for the sake of some kind of dowry! Figaro hurries to the place of the supposed meeting to catch them red-handed. And now, in a dark corner of the park with two gazebos, the final scene of a crazy day takes place. Hidden, Figaro and the real Suzanna await the count's meeting with "Suzanna": the first seeks revenge, the second - an amusing spectacle. So they overhear a very instructive conversation between the count and the countess. The Count admits that he loves his wife very much, but his thirst for variety pushed him to Suzanne. Wives usually think that if they love their husbands, that's all. They are so attentive, so always helpful, invariably and under any circumstances, that one day, to your amazement, instead of again feeling bliss, you begin to experience satiety. Wives simply do not know the art of maintaining desire in their husbands. The law of nature forces men to seek reciprocity, and it is up to women to be able to keep them. Figaro tries to find those talking in the darkness and stumbles upon Suzanne, dressed in the countess's dress. Figaro tries to find the conversation in the darkness and stumbles upon Suzanne, dressed in the countess's dress. He still recognizes his Suzanne and, wanting to teach the Count a lesson, plays out a scene of seduction. The enraged count hears the entire conversation and convenes the whole house to publicly expose his unfaithful wife. They bring torches, but instead of the Countess with an unknown admirer, they find Figaro and Suzanne laughing, and meanwhile the Countess emerges from the gazebo in Suzanne’s dress. The shocked count begs his wife for forgiveness for the second time that day, and the newlyweds receive an excellent dowry. The action takes place over one crazy day in the castle of Count Almaviva, whose household in this short time manages to weave a dizzying intrigue with weddings, courts, adoptions, jealousy and reconciliation. The heart of the intrigue is Figaro, the count's housekeeper. This is an incredibly witty and wise man, the count's closest assistant and adviser in normal times, but has now fallen out of favor. The reason for the Count's dissatisfaction is that Figaro decides to marry the charming girl Suzanna, the Countess's maid, and the wedding should take place on the same day, everything goes well until Suzanne tells about the Count's idea: to restore the lord's shameful right to the bride's virginity under the threat of disrupting the wedding and deprive them of their dowry. Figaro is shocked by such baseness of his master, who, without having time to appoint him as a house manager, is already planning to send him to the embassy in London by courier in order to calmly visit Suzanne. Figaro vows to deceive the voluptuous count, win Susanna and not lose her dowry. As the bride says, intrigue and money are his element. The wedding of Figaro is threatened by two more enemies. The old doctor Bartolo, from whom the count, with the help of the cunning Figaro, kidnapped his bride, found an opportunity, through his housekeeper Marcelina, to take revenge on the offenders. Marcelina is going through the court to force Figaro to fulfill his debt obligation: either return her money, or marry her. The Count, of course, will support her in her desire to prevent their wedding, but thanks to this, her own wedding will be arranged. Once in love with his wife, the count, three years after his marriage, slightly lost interest in her, but love was replaced by frenzied and blind jealousy, while out of boredom he chases after beauties throughout the area. Marceline is head over heels in love with Figaro, which is understandable: he does not know how to get angry, is always in a good mood, sees only joys in the present and thinks just as little about the past as about the future. In fact, it is Dr. Bartolo's direct duty to marry Marcelina. They were to be united in marriage by a child, the fruit of forgotten love, stolen in infancy by the gypsies. The Countess, however, does not feel completely abandoned; she has an admirer - His Excellency's page Cherubino. This is a charming little prankster, going through a difficult period of growing up, already realizing himself as an attractive young man. The change in worldview completely confused the teenager; he takes turns courting all the women in his field of vision and is secretly in love with the Countess, his godmother. Cherubino's frivolous behavior displeases the count, and he wants to send him to his parents. The boy, in despair, goes to complain to Suzanne. But during the conversation, the Count enters Suzanne’s room, and Cherubino hides behind a chair in horror. The Count already bluntly offers Suzanne money in exchange for a date before the wedding. Suddenly they hear the voice of Basil, a musician and pimp at the count's court, he approaches the door, the count, in fear that he will be caught with Suzanne, hides behind a chair where Cherubino is already sitting. The boy runs out and climbs up into the chair, and Suzanne covers him with a dress and stands in front of the chair. Basil is looking for the count and at the same time takes the opportunity to persuade Suzanne to accept his master’s proposal. He hints at the favor of many ladies towards Cherubino, including her and the Countess. Overcome by jealousy, the count gets up from his chair and orders the boy, who is trembling under his cover, to be sent away immediately. He pulls off the dress and discovers a small page underneath. The Count is sure that Suzanne had a date with Cherubino. Furious that his sensitive conversation with Suzanne was overheard, he forbids her to marry Figaro. At the same moment, a crowd of smartly dressed villagers appears, led by Figaro. The cunning man brought the count's vassals to solemnly thank their master for abolishing the lord's right to the bride's virginity. Everyone praises the count’s virtue, and he has no choice but to confirm his decision, cursing Figaro’s cunning. They also beg him to forgive Cherubino, the count agrees, he makes the young man an officer of his regiment, with the condition that he immediately leave to serve in distant Catalonia. Cherubino is in despair that he is breaking up with his godmother, and Figaro advises him to pretend to leave and then return to the castle unnoticed. In retaliation for Suzanne's intransigence, the Count plans to support Marcelina at the trial and thus disrupt Figaro's wedding. Figaro, meanwhile, decides to act with no less consistency than his Excellency: to moderate his appetites for Suzanne, instilling the suspicion that his wife is also being encroached upon. Through Basil, the Count receives an anonymous note that a certain admirer will seek a date with the Countess during the ball. The Countess is outraged that Figaro is not ashamed to play with the honor of a decent woman. But Figaro assures that he will not allow himself to do this with any woman: he is afraid of hitting the mark. Bring the Count to white heat - and he is in their hands. Instead of having a pleasant time with someone else’s wife, he will be forced to follow on the heels of his own, and in the presence of the Countess, he will no longer dare to interfere with their marriage. Only Marceline needs to be feared, so Figaro orders Suzanne to make an appointment with the Count in the evening in the garden. Instead of the girl, Cherubino will go there in her costume. While his Excellency is hunting, Suzanne and the Countess must change Cherubino’s clothes and hair, and then Figaro will hide him. Cherubino arrives, they change his clothes, and touching hints slip between him and the countess, speaking of mutual sympathy. Suzanne went out to get some pins, and at that moment the Count returns from the hunt ahead of schedule.

The work begins its narrative from the moment of preparation for the wedding in the castle of Count Almaviva. During it, everyone has fun, communicates, and discusses pressing matters and problems. The culprit of this preparation is the best servant in the castle - Figaro, and his bride, the countess's servant, is the lovely Suzanne.

However, not everything is so joyful and radiant, since Count Almaviva is very cunning and sneaky. He gives the young couple a room, which Figaro really likes, but Suzanne doesn’t like. She believes that the count wants to take advantage of the right of the first night, even though he canceled it long ago. But still, Figaro decides to stand up for the honor of his beloved and refuses this offer.

The lovers also face several other obstacles. Once upon a time, Figaro borrowed money from Marcelina, and foolishly gave written consent that if he did not repay the debt, he would marry her. But, having never returned the money, this debt is still his, and at any moment Marcelina can demand payment.

Suzanne is very puzzled by the created atmosphere. Her page Cherubino tells her about his feelings for the Countess, begging her to put in a good word for him with her. But then their conversation is interrupted by the count, and Cherubino, seeing the count, hides behind a chair and witnesses the conversation.

The Count confesses his feelings to Suzanne, trying to get a date from her, but he has to follow Cherubino’s example, and suddenly he overhears Basilio’s story about Cherubino’s love for the Countess. He becomes furious and is about to punish him when Suzanne hints to him that Cherubino witnessed their conversation. The Count relents, allows the wedding, and releases Cherubino on the condition that he join a military regiment. After which Figaro playfully teaches Cherubino the basics of military art. This episode ends Mozart’s work “The Marriage of Figaro”

Picture or drawing Mozart - The Marriage of Figaro

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The eventful play “Crazy Day or the Marriage of Figaro” was staged by the Tabakov Theater in honor of the 30th anniversary. The director of the play was Konstantin Bogomolov, and main role performed by Sergei Bezrukov. The premiere of the play took place on May 14, 2009 as part of the Chereshnevy Les arts festival.

Summary of “The Marriage of Figaro” (Beaumarchais)

A summary of “The Marriage of Figaro” (Beaumarchais) can be described as follows. The action takes place in the castle of Count Almaviva, where in one day intrigues are woven and broken, weddings and quarrels occur, unexpected details and the most unexpected events happen. At the center of the intrigue is the count’s young housekeeper, Figaro, a cheerful and wise young man, the count’s closest ally. However, now he has fallen out of favor, and all because he decided to marry the Countess's maid, a girl named Suzanne. The Count decides to restore the lord's disgusting right to the bride's virginity, but the maid angrily refuses him. Figaro is shocked by the meanness of his master and promises Suzanne to outwit the voluptuous count. The girl is sure that he will succeed, because the passion for intrigue and the ability to manage money matters is his element.

The Count is not Figaro's only opponent. The wedding is also threatened by Doctor Bartolo and his companion Marcelina. Once upon a time, the Count, with the help of Figaro, kidnapped Dr. Bartolo’s fiancée and got involved in financial squabbles with Marcelina, so now both are going to prove their case in court. Marcelina tells Figaro that if he does not return the money, he, as a decent person, will have to take her as his wife.

Marcelina is passionately in love with Figaro, she is attracted by his good-natured disposition and optimism. But Dr. Bartolo is not averse to getting her as his wife; he ties them together common child, kidnapped by gypsies in infancy.

The Count is only rejoicing at this coincidence of circumstances, because Marceline is able to prevent the marriage of Figaro and Suzanne. The Count, previously passionately in love with his wife, soon lost interest in her and, instead of fulfilling his marital duties, pursues all the surrounding beauties, while being wildly jealous of his wife towards all the men who happen to be nearby.

However, the Countess does not feel deprived of male attention. She is ineptly but passionately courted by the young page Cherubino, a charming young rake who is instantly captivated by all the women who appear in his field of vision. But most of the attention goes to the Countess, the godmother of the little page.

Such defiant behavior of Cherubino naturally arouses the displeasure of the count, who dreams of sending the page to his parents as punishment. Cherubino complains to the kind-hearted Susanna, but during their conversation the Count knocks on the maid's room. The girl, in horror, hides Cherubino behind an armchair, and the count who enters, without hints, offers Suzanne money in exchange for a date with her before the wedding. The voice of the court musician Basil saves her from a direct answer. The Count, not wanting to be caught in the maid's room, hides behind the same chair behind which the little page is sitting. The boy manages to run out and climb onto a chair, where Suzanne covers him with a dress. Basil gossips, telling Suzanne about Cherubino's relationship with the Countess. The Count, overcome with jealousy, comes out from behind his chair and discovers a little page. Confident that Cherubino and Suzanna had a date, and furious that they were overheard, he finally decides to send the young man home and forbid the girl from getting married.

At this time, Figaro appears at the head of a smartly dressed crowd of the count's vassals. The cunning man persuaded them to praise their master and thank him for the abolition of the lord's right to the virginity of the bride. The Count, silently cursing Figaro's resourcefulness, confirms his decision. At the same time, they beg him to forgive the page Cherubino, and the count, gritting his teeth, agrees to this too, promoting the young man to an officer on the condition that he immediately leave to serve in Catalonia. Cherubino is in despair that he will have to part with the Countess, but Figaro finds a way out, advising him to fake his departure and return to the castle unnoticed.

In retaliation, the Count plans to support Marcelina at trial in order to disrupt the wedding of Suzanne and Figaro. In an effort to protect the bride from the encroachments of her master, Figaro conceives a new intrigue. Through Basil, the Count receives a note that the Countess has a mysterious admirer who will seek a date with her during the evening ball.

Figaro tells Suzanne to make an appointment with the Count in the evening in the garden, but Cherubino, in disguise, should come there instead. The Count leaves for a hunt, and the Countess and Suzanne take the opportunity to dress the page in women's clothing, but the Count unexpectedly returns ahead of schedule. Cherubino jumps out of the window in horror. Suzanne hides in the dressing room and when the Countess confesses to her husband that she hid her page's lover in the room, he finds only Suzanne laughing. The girl explains that they specifically decided to play the count, blinded by jealousy, but at the same time not showing affection to his wife. Figaro appears, and the women assure the Count that it was the young housekeeper who wrote him the note. The count, in repentance, asks for forgiveness and, it seems, everything should work out, but at that moment the gardener appears and talks about how a man fell out of the window of this room. He presents a paper that fell from the pocket of the escaped man. This is an order for the appointment of Page Cherubino to the regiment. Figaro manages to get out of a sticky situation: he was the one who jumped out of the window, and he had the paper because he was carrying it to the Count. Which was supposed to put the missing seal.

Marceline appears, and the Count sees in her an instrument of revenge against the cunning Figaro. But Marceline unexpectedly recognizes the young man as her son, kidnapped by gypsies. This is how Figaro finds a loving mother.

The action of the comedy “Crazy Day or the Marriage of Figaro” ends late in the evening, when the Countess, wanting to teach the Count a lesson, persuades Suzanne to write a note in which the maid asks the owner for a date. The Countess is going to come to the park at the appointed time instead of Suzanne. Figaro, not knowing the true meaning of their undertaking, flies into a rage. Figaro is hiding not far from the place of the supposed meeting. Finding Suzanne hiding nearby, dressed in the countess's dress, he recognizes her, but especially for the count he arranges a scene of seduction. The enraged count, wanting to expose Figaro, finds only Suzanne and Figaro laughing, and the countess comes out of the gazebo in Suzanne's dress, denouncing her unfaithful husband. The Count again asks his wife for forgiveness. The newlyweds receive a rich dowry.