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Updated: June 1, 2025
The Countess, Susanna, Figaro, and Cherubino then conspire to punish the Count for his infidelity. The latter suddenly appears at his wife's door, and finding it locked demands an entrance. Cherubino, alarmed, hides himself in a closet and bars the door. The Count is admitted, and finding the Countess in confusion insists upon searching the closet.
Another brother of Francesco had the name of Girolamo when in the world, and of Fra Cherubino among the Frati Zoccolanti di San Francesco; and he was a very beautiful calligrapher and illuminator. The third, who was a Friar of S. Dominic and an Observantine, and was called Fra Girolamo, chose out of humility to become a lay-brother.
But if this be so, it may be asked, Who shall be found worthy to act Cherubino on the stage? You cannot have seen and heard Pauline Lucca, or you would not ask this question. Cherubino is by no means the most important person in the plot of the Nozze. But he strikes the keynote of the opera.
Though a mere stripling, Cherubino is already a budding voluptuary, animated with a wish, something like that of Byron's hero, that all woman-kind had but a single mouth and he the privilege of kissing it. He adores the Countess; but not her alone. Susanna has a ribbon in her hand with which, she tells him, she binds up her mistress's tresses at night. Happy Susanna! Happy ribbon!
Among the parts she sang at this chrysalis period were Cherubino in the "Nozze di Figaro," Servilia in "La Clemenza di Tito," and the rôle of the pretended shrew in Ferrari's "Il Shaglio Fortunato." Mme. Pasta found herself at the end of the season a dire failure.
His love is the standard by which we measure the sad, retrospective, stately love of the Countess, who tries to win back an alienated husband. By Cherubino we measure the libertine love of the Count, who is a kind of Don Juan without cruelty, and the humorous love of Figaro and his sprightly bride Susanna. Each of these characters typifies one of the many species of love.
The sublime Adagio of the Ninth Symphony made him think of Cherubino. After the three crashing chords at the opening of the Symphony in C Minor, he called out: "Don't come in! I've some one here." He admired the Battle of Heldenleben because he pretended that it was like the noise of a motor-car. And always he had some image to explain each piece, a puerile incongruous image.
In his death, the spirit of chivalry survives, metamorphosed, it is true, into the spirit of revolt, yet still tragic, such as might animate the desperate sinner of a haughty breed. The central figure of the melo-comedy is Cherubino, the genius of love, no less insatiable, but undetermined to virtue or to vice. This is the point of Cherubino, that the ethical capacities in him are still potential.
Some of the constituents of the ever-varying product a product which is new each time the part is played are fixed. Da Ponte's Cherubino and Mozart's melodies remain unalterable. All the rest is undecided; the singer and the listener change on each occasion.
He did not seem more than seventeen: he had the joyousness of a child, the fancies of a page, like Cherubino in the Marriage of Figaro. All the difficulties and subjects of despair which preceded his malady had vanished in a rose-colored distance. He passed his days in reading interminable books Clarissa Harlowe, which he already knew, the Memorial of St.
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