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Updated: May 21, 2025
His next work, 'Le Nozze de Figaro' , was written to an adaptation of Beaumarchais's famous comedy 'Le Mariage de Figaro, which had been produced in Paris a few years before.
"Then he and the Queen on that same evening must escape disguised she is a good actress, Ned, and did not play Beaumarchais's comedies at the little Trianon for nothing; the King will have more trouble to Courbevoie, where a detachment of the Swiss Guard will be found to escort their Majesties to Compiègne.
It was first brought out in Paris in 1793, with Beaumarchais's spoken dialogue, in five acts, as "Le Mariage de Figaro," and in 1858 at the Théâtre Lyrique in the same city, in four acts, as "Les Noces de Figaro," with text by Barbiere and Carré. The late Mme. Parepa-Rosa introduced it in this country in its English form with great success.
They then came to the point, and begged him to tell the Queen positively that all which had been pronounced reprehensible in M. de Beaumarchais's play had been cut out. My father-in-law contented himself with replying that his situation at Court would not allow of his giving an opinion unless the Queen should first speak of the piece to him. The Queen said nothing to him about the matter.
The attorney-general flatly refused. Proudhon then started for Belgium, where he printed his defence, which could not, of course, cross the French frontier. This memoir is entitled to rank with the best of Beaumarchais's; it is entitled: "Justice prosecuted by the Church; An Appeal from the Sentence passed upon P. J. Proudhon by the Police Magistrate of the Seine, on the 2d of June, 1858."
At the time the libretto was written, Beaumarchais's satirical comedy, "Le Mariage de Figaro," had been performed all over Europe, and had attracted great attention. It had been prohibited in Paris, and had caused great commotion in Vienna.
They then came to the point, and begged him to tell the Queen positively that all which had been pronounced reprehensible in M. de Beaumarchais's play had been cut out. My father-in-law contented himself with replying that his situation at Court would not allow of his giving an opinion unless the Queen should first speak of the piece to him. The Queen said nothing to him about the matter.
The king, with no very able brain at any time, was very young and wholly inexperienced. He gazed bewildered at the brilliant pageantry of Beaumarchais's wonderful and audacious statecraft, and sensibly sought the advice of his ministers. De Vergennes set out his views, in agreement with Beaumarchais.
Especially was this true of English ballad operas and English transcriptions, or adaptations, of French, German, and Italian operas. New York was five months ahead of Paris in making the acquaintance of the operatic version of Beaumarchais's "Barbier de Seville." The first performance of Rossini's opera took place in Rome on February 5, 1816.
Some day soon, it is to be hoped managers, singers, and public will awake to a realization that, even in the old operas in which beautiful singing is supposed to be the be-all and end-all, the action ought to be kept coherent. In that happy day Rossini's effervescent lyrical arrangement of Beaumarchais's vivacious comedy will be restored to its rights.
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