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And since all great art is classical, Mozart's two melodramas, Don Giovanni and the Nozze di Figaro, though the one is tragic and the other comic, are twin-sisters, similar in form and feature.
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.
The culminating point of Mozart's artistic development was in 1786. The "Marriage of Figaro" was the first of a series of masterpieces which cannot be surpassed alike for musical greatness and their hold on the lyric stage. The next year "Don Giovanni" saw the light, and was produced at Prague. The overture of this opera was composed and scored in less than six hours.
"Answer of M. de Beaumarchais to , who requested the use of his private box for some ladies desirous of seeing 'Figaro' without being themselves seen. "I have no respect for women who indulge themselves in seeing any play which they think indecorous, provided they can do so in secret. I lend myself to no such acts.
The Count's jealous fears are returning, but Figaro allays them by declaring that he is the culprit, and that he made his escape by the window in order to avoid the Count's anger. Antonio then produces a paper which he found dropped among the flowers. This proves to be Cherubino's commission.
Thus you will have created in the bosom of your home a comedy in five acts, in which you play, to your profit, the brilliant role of Figaro or Almaviva; and for some months you will amuse yourself so much the more, because your amour-propre, your vanity, your all, were at stake.
It was generally insinuated shortly afterwards that Beaumarchais had determined to suppress all those parts of his work which could be obnoxious to the Government; and on pretence of judging of the sacrifices made by the author, M. de Vaudreuil obtained permission to have this far-famed "Mariage de Figaro" performed at his country house.
But no they fell, even more rapidly than they rose, till their grace and their cultivation, for them they could not lose, made them the willing ministers to the luxury, the frivolity, the sentimentality, the vice of the whole old world the Scapia or Figaro of the old world infinitely able, but with all his ability consecrated to the service of his own base self.
The plot of the Barber of Seville is rather trite; the Marriage of Figaro is planned with much more art, but the manners which it portrays are loose; and it is also censurable in a poetical point of view, on account of the number of foreign excrescences with which it is loaded.
This quotation and others that follow come from a translation which appeared in The Daily Telegraph of a letter written by Yvette Guilbert to The Figaro. It is noteworthy that this idea of dispensing with dramatists is not new. Efforts were made in the days of Le Chat Noir to evolve a new kind of drama, in which the playwright had little concern.
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