"The Marriage of Figaro," an opera in four acts, was first produced at the National Theatre in Vienna, Italy, on May 1, 1786, with the following cast:
When it came to a performance, its success was remarkable. Popular as it was, it was soon laid aside in Vienna through the influence of the Italian faction headed by Salieri, one of Mozart''s rivals.
The story of "The Marriage of Figaro" is laid in Spain. Count Almaviva, who won his beautiful countess with the aid of Figaro, the barber of Seville, becomes enamored of her maid Susanna.
Meanwhile Figaro, to whom Susanna is betrothed, becomes jealous of the count for his gallantry to her. Out of these cross-relations arise several humorous surprises. Besides these characters, there are two others who have been disappointed in love: Bartolo, who has been rejected by Susanna, and Marcellina, whose affection for Figaro has not been requited.
The count, who senses that Cherubino is interested in the countess, seeks to get rid of Cherubino by ordering him off to the wars, but he is saved by Susanna, who disguises him in female attire.
The countess, Susanna, Figaro and Cherubino then conspire to punish the count for his infidelity. The latter suddenly appears at his wife''s door. Finding it locked, he 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. When he goes out to find some means of breaking in the door, Cherubino uses the opportunity to jump out of the window, while Susanna takes his place and confronts the puzzled count.
Antonio, the gardener, comes in and complains that some one has jumped from the window and broken his flower pots. Figaro at once asserts that he did it.
A ludicrous side plot unfolds at this point. Marcellina appears with a contract of marriage signed by Figaro, bringing Bartolo as a witness. The count decides that Figaro must fulfill his contract, but the latter escapes by showing that he is the son of Marcellina and that Bartolo is his father.
Meanwhile, the main plot is developed in another conspiracy to punish the count. Susanna contrives a rendezvous with the count at night in the garden, having previously arranged with the countess that she should disguise herself as the maid, the latter also assuming the part of the countess, and arrive in time to surprise the two.
Figaro, who has been informed that Susanna and the count are to meet in the garden, comes on the scene and in revenge makes a passionate declaration of love to the supposed countess, upon which the count, who is growing more and more bewildered, orders lights and makes his supposed wife unveil. The real wife does the same. Covered with confusion, he implores pardon of the countess, which is readily given. The two are reconciled, and Figaro and Susanna are united.
Upton, George (1897). The Standard Operas: Their Plots, Their Music, and Their Composersa Handbook. Chicago: A. C. McClurg and Company.