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Susanna's angst(see the texture of the orch)

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Susanna's angst(see the texture of the orch)

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La Contessa (The Countess)
Rosina is a sentimental, lonely, pathetic woman.She loves her husband, but she found out that she is not the only woman of her husband. The two Rosina’s aria in this opera are mostly about the lost of her husband’s love and the past happiness.
Porgi, Amor(Cavatina) Atto 2 No.10
There are only 4 repeating lines of text in this aria. A long introduction before the singer is unusual for Mozart’s arias. With the melisma, wide range, in slow tempo and lots of appoggiaturas (bar 19) to show the heartbroken lament of Rosina for losing his husband’s love.
Dove Sono I bel momenti No.19
This aria has two part a slow part and a fast part.
The slow part is about the countess lamenting about the past sweet moment that she had with the count.
And the fast part shows her hope for getting her love back.
This aria shows her determination to change the current situation.

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When figaro leaves, Basilio who is impossible to keep a secret, knows about everything. So he explain something to Dr. Bartolo by his own method. He use Aria “In Quegli anni”
Also like Marcellina ‘s, Basilio’s aria opens in one tempo and ends in another. Before it comes to his final Allegro, suddenly breaking into a long list interlude in the form of minuet.
This aria are often omitted, and indeed it doesn’t tell us anything about the character.  It more like Mozart suddenly remembered that these smaller characters need to do something to justify their engagement.
Music teacher basilio is a sleazy character who spreads rumors, stigmatizes others and he is glib to others. But he is loyal to the count.
This character appears just right, he give the opera many humorous elements inside. Although he doesn't appear in many, each time has become funnier. It is easy to make the audience focus on him, Basilio just like a flavoring, it is an indispensable role in the opera.

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It’s at the time that the Count orders Figaro to prove he was the jumper by identifying the paper (which is, in fact, Cherubino's appointment to the army). Figaro is at a loss, but Susanna and the Countess manage to signal the correct answers, and Figaro triumphantly identifies the document. His victory is, however, short-lived: Marcellina, Bartolo, and Basilio enter, bringing charges against Figaro and demanding that he honor his contract to marry Marcellina, since he cannot repay her loan.

Actually it doesn't have anything to do with Basilio, but he still wants to bring charges against Figaro, with a bystander attitude. His body movements and language are both quite funny. in terms of singing, Brasilio is supposed to not display the sound of the tenor, but  make the sound even more feminine, more oily.

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The characteristic of Don Basolio(Tenor): According to his face and behavior, he is a sordid man in the opera. He likes to spread rumors and sneer at other people, but he is loyal to the count.

Act 1, 35'02--43'40, it is the first time that the Basolio appeared.(Basolio, arrives, the Count, not wanting to be caught alone with Susanna, hides behind in a corner.)

When the music teacher came to Susana's room, ntered into the Susana's room, he smiled ugly and funny on his face. He did not know that Cherubino and the count had hidden in the room . At first, he tried to molested Susanna and badmouthed other people. According to this part, we  can considerate that Basorio is a sordid man.

When Basolio  started to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place. At that time, his face changed immediately, and he quickly admitted his mistake.

When he saw that Cherubino was found out by the count, he became the same face as he  just arrived at the room. He taunt this poor man.

After then, a famous trio( No.7, page 40) which present by count, Basilio and Susanna.

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For most of the opera prior to what I like to call the "Luke Skywalker moment", Marcellina is portrayed as a scheming, easily irritable old woman. We see this in the duet "Via resti, servita" from Act 1, wherein she tries to humiliate Susanna but ends up embarrassing herself. Her attempts to take control of the situation parallel the fact that modulations are typically initiated by her. (Fig 1 and 2)

Her increasing irritation is captured through melodic variations. In the reprisal of her cutting insults, the melodies tend to span larger ranges and intervals (Fig 3 and 4)

Lastly,  her refrain, "Per Bacco, precipito..." includes the line "se ancor resto qua". This line is always sung with a kind of written-out stammer, as if she is out of breath or lost for words. (Fig 6)

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Act III: No.18 Riconosci in quest’amplesso / Recognise in this embrace”

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Act III: No.18 Riconosci in quest’amplesso / Recognise in this embrace”

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luke skywalker SCENE TIMING START ON 2.00.37, SONG AFTERWARD

On the day of the ROM, it was revealed that Figaro was in fact the long lost son of her and Dr Bartolo. From here on we see a character shift to a more motherly side of Marcellina as she expresses her joy at the reunion at “No.18 Riconosci in quest’amplesso / Recognise (your mother) in this embrace”. It being in F major symbolises a sense of joy and peace. It may also function as a way to show the reunification of the family and Figaro’s belonging, or as how similar they are to each other, as Figaro’s character-defining aria introduced in Act 1 “Se vuol ballare, Signor Contino/ If you want to dance (fight), Count” was placed in F major as well (when he was also scheming)

This is in Songnata form. When Susanna entered and saw Figaro hugging Marcellina in joy, she assumed the worse, and the orchestra goes into minor (V) with a lot of semiquavers (development)

While it is a sextet (with Bartolo, Figaro, Susanne, and the confused Judge and Count), it displays Marcellina’s character well and instills her as a strong-headed leader of the family - Seeing as she started the sextet as well as soothed Susannas rage (shifting the key back to F major - Recapitulation) and explained the situation first when she was confused, cementing the shift in her stance as an antagonist to an ally

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In this opera, Cherubino plays a breeches role — the role in which an actress appears in male clothing. As a “charming scamp in his puberty” according to the original setting. He likes Countess very much, which shows especially in the aria Voi Che sapete(1:02:17).

In this aria, he sings to countess because Susanna asks him to. He acts reckless and innocent, but very charming. In the prelude of the song, Susanna plays the guitar, showed by the clarinet plays the main melody of the song with bassoon “tenderly”, and the strings play pizzicatos “quietly” — which sounds very cute and naive.

The whole song has a simple harmony and a thin texture -  which indicates his innocence; a beautiful melody and an easy atmosphere -  which also indicates by Countess after he sings this aria, (recitative: Bravo! Che bella voce! )shows how beautiful his voice and how charming he is.

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BARBARINA (MS): [Antonio's Daughter] Likie, Mikang

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BARBARINA (MS): [Antonio's Daughter] Likie, Mikang

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ANTONIO (B): [count's gardener, Susanna's Uncle] 

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ANTONIO (B): [count's gardener, Susanna's Uncle] 

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DON BASILIO (T) [music teacher]: Cao Lan, Xinyi, Chang Qian

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DON BASILIO (T) [music teacher]: Cao Lan, Xinyi, Chang Qian

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DR. BARTOLO (B) [doctor from Seville]: Erkin, Asami 

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DR. BARTOLO (B) [doctor from Seville]: Erkin, Asami 

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CHERUBINO (MS or S): [Page] Yaxu, Shun-ming

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CHERUBINO (MS or S): [Page] Yaxu, Shun-ming

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MARCELLINA (S): [governess]        Yongen, Elicia

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MARCELLINA (S): [governess]        Yongen, Elicia

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COUNTESS ALMAVIVA (S): See Huey, Jae Won, 

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COUNTESS ALMAVIVA (S): See Huey, Jae Won, 