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Updated: May 12, 2025
Il Matrimonio Inaspettato, a composition of PAESIELLO, is likewise in rehearsal, as well as Le Nozze di Dorina, by SARTI, and La Vilanella Rapita, by BIANCHI. MOZART too will soon enter the lists; his Dom Giovanni is to be speedily brought forward. The orchestra of the Opera Buffa, though far from numerous, is extremely well-composed.
The London public got the benefit of this amity, for the manager of the King's Theatre was able to produce operas in which they sang together, among them being "Semiramide," "Don Giovanni," "Nozze di Figaro," and "Romeo e Giulietta" Malibran playing the hero in the latter opera.
O Buondelmonte, quanto mal fuggisti Le nozze sue per gli altrui conforti! Molti sarebber lieti, che son tristi, Se Dio t' avesse conceduto ad Ema La prima volta ch' a citta venisti. Ma conveniasi a quella pietra scema Che guarda il ponte, che Fiorenza fesse Vittima nella sua pace postrema.
Gounod has written of it: 'The score of "Don Giovanni" has influenced my life like a revelation. It stands in my thoughts as an incarnation of dramatic and musical impeccability, and lesser men will be content to echo his words. The plot is less dramatically coherent than that of 'Le Nozze di Figaro, but it ranges over a far wider gamut of human feeling.
This work was finished and ready to go to rehearsal when the whole thing was stopped because I had the audacity to assert to Nestor Roqueplan, the director of Favart Hall, that Mozart's Le Nozze di Figaro was a masterpiece. Meyerbeer, even more than anyone, tried not to lose his ideas and the study of their transformation is extremely interesting.
Our fat neighbour woman she whom you so often laughed at and drew the funny caricatures of she has gone and got married to that young lad, Signor Luigi. Well, well! Nozze e magistrati sono da dio destinati! Marriages are made in heaven, they say."
Sitting in the shade does not give the experience which develops talent. We should never have known the great days of the Italian theatre, if Rossini, Donizetti, Bellini, and Verdi had had to undergo our régime. If Mozart had had to wait until he was forty to produce his first opera, we should never have had Don Giovanni or Le Nozze di Figaro, for Mozart died at thirty-five.
As it is, we have operatic versions of the first two of the comedies, Mozart's "Nozze di Figaro" being a sequel to Rossini's "Il Barbiere," its action beginning at a period not long after the precautions of Dr. Bartolo had been rendered inutile by Figaro's cunning schemes and Almaviva had installed Rosina as his countess. "Le Nozze" was composed a whole generation before Rossini's opera.
In 1782 his "Entfuhrung aus dem Serail" was produced at Vienna by the Emperor's command. His next great opera was "Le Nozze di Figaro," which was performed in 1786, and made all Vienna go wild. "Don Giovanni" followed it the next year, and was received with equal enthusiasm.
That the Cherubino of Mozart's Nozze is quite different from Beaumarchais' Cherubin does not affect this question. He is a new creation, just because Mozart could not, or would not, conceive the character of the page in Beaumarchais' sprightly superficial spirit. He used the part to utter something unutterable except by music about the soul of the still adolescent lover.
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