_Le Nozze di Figaro: dramma giocoso in quadro atti; poesia di Lorenzo Da
Ponte, aggiustata dalla commedia del Beaumarchais, “Le Mariage de
Figaro”; musica di W. A. Mozart_, was composed at Vienna in 1786 and
produced there on May 1 of the same year.
The overture opens (_presto_, D major, 4-4) immediately with the first
theme; the first part of it is a running passage of seven measures in
eighth notes (strings and bassoons in octaves), and the second part is
given for four measures to wind instruments, with a joyous response of
seven measures by full orchestra. This theme is repeated. A subsidiary
theme follows, and the second theme appears in A major, a gay figure in
the violins, with bassoon, afterward flute. There is no free fantasia.
There is a long _coda_.
Mozart saw in the play of Beaumarchais an excellent libretto for an
opera. Da Ponte tells the story in his amusing _Memoirs_: “Talking one
day with him [Mozart], he asked me if I could turn Beaumarchais’s _Noces
de Figaro_ into an opera. The proposition was to my taste, and the
success was immediate and universal. A little before, this piece had
been forbidden by the Emperor’s command, on account of its immorality.
How then to propose it anew? Baron Vetzlar [Wezlar] offered me with his
customary generosity a reasonable price for my libretto and assured me
that he would see to its production at London or in France, if it were
refused in Vienna. I did not accept the offer, and I secretly began
work. I waited the opportune moment to propose the poem either to the
Intendant or, if I had the courage, to the Emperor himself. Martin alone
was in my confidence, and he was so generous, out of deference to
Mozart, to give me time to finish my piece before I began work on one
for him. As fast as I wrote the words, Mozart wrote the music, and it
was all finished in six weeks. The lucky star of Mozart willed an
opportune moment and permitted me to carry my manuscript directly to the
Emperor.
“‘How’s this?’ said Joseph to me. ‘You know that Mozart, remarkable for
his instrumental music, has with one exception never written for song,
and the exception is not good for much.’
“I answered timidly, ‘Without the kindness of the Emperor, I should have
written only one drama in Vienna.’
“‘True: but I have already forbidden the German company to play this
piece _Figaro_.’
“‘I know it; but, in turning it into an opera, I have cut out whole
scenes, shortened others, and been careful everywhere to omit anything
that might shock the conventionalities and good taste; in a word, I have
made a work worthy of the theater honored by His Majesty’s protection.
As for the music, as far as I can judge, it seems to me a masterpiece.’
“‘All right; I trust to your taste and prudence. Send the score to the
copyists.’
“A moment afterward I was at Mozart’s. I had not yet told him the good
news, when he was ordered to go to the palace with his score. He obeyed,
and the Emperor thus heard several _morceaux_ which delighted him.
Joseph II had a very correct taste in music, and in general for
everything that is included in the fine arts. The prodigious success of
this work throughout the whole world is a proof of it. The music,
incredible to relate, did not obtain a unanimous vote of praise. The
Viennese composers crushed by it, Rosenberg and Casti especially, never
failed to run it down.”[40]
Did Da Ponte show himself the courtier when he spoke of the Emperor’s
“very correct taste in music”?
There was a cabal from the start against the production of Mozart’s
opera. Kelly says in his _Reminiscences_: “Every one of the opera
company took part in the contest. I alone was a stickler for Mozart, and
naturally enough, for he had a claim on my warmest wishes.... Of all the
performers in this opera at that time, but one survives—myself. [This
was written in 1826.] It was allowed that never was opera stronger cast.
I have seen it performed at different periods in other countries, and
well too, but no more to compare with its original performance than
light is to darkness. All the original performers had the advantage of
the instruction of the composer, who transfused into their minds his
inspired meaning. I never shall forget his little animated countenance,
when lighted up with the glowing rays of genius; it is as impossible to
describe as it would be to paint sunbeams.”