Le Nozze Di Figaro Analysis

Le Nozze di Figaro or The Marriage of Figaro is known as an opera buffa or comic opera that is broken into four acts. Wolfgang Omodeus Mozart composed this piece in 1786, along side an Italian libretto written by Lorenzo de Ponte. It premiered May 1, 1786 at the Burg Theater in Vienna. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who was able to turn it into a libretto in just six weeks, rewriting it in poetic Italian and removing all of the original's political references that were opposed by the aristocracy. However, they managed to still get away with creating an opera that went against the social norms by formulating a play that centered arouned the lower social class. The opera is set in the palace
He has has decided to formulate a plan to revive an old aristocratic right permitting a nobleman to deflower a peasant before her wedding night. This is an old age tradition known as the droit de seigneur, “the right of the first night”. Figaro is enraged when he hears of this plan. However, through Susanna and Figaro working with help of friends they are able to foil the Count's plan. His wife finds out and Almaviva is forced to beg for his wife's forgiveness. The Marriage of Figaro is noted for its use of two flutes, oboes, clarinets, bassoons, horns and trumpets, a timpani, and a strings section. These are also complemented by the use of a keyboard instrument, like a fortepiano or a harpsichord, and sometime assisted by a cello. Mozart overall helps demonstrate a changing social class. This was a growing theme through the emergence of the Era of Enlightenment, which emphasizing reason and individualism rather than usual traditions. The Marriage of Figaro in particular touches on women’s rights. We see woman whom may be of a lower class situated as heroines and in positions of power. They are able to nullify both class and gender hierarchies. We see them win in situations they are put up against with men
This opera shows woman expressing ingenuity, free will, and regular triumph as a possible goal. This opera likely motivated many woman and as well made the lower class feel more empowered through viewing this rebellious opera and its rebellion again the aristocracy.

Work Cited:
Blackmer, Corinne E., and Patricia Juliana. Smith. En Travesti: Women, Gender Subversion, Opera. New York: Columbia UP, 1995. Print.
Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill, 2011. Print.
"Synopsis: Le Nozze Di Figaro." Le Nozze Di Figaro Synopsis. The Metropolitan Opera, n.d. Web. 05 Jan. 2016.
Nussbaum, Martha C. "Equality and Love at the End of The Marriage of Figaro: Forging Democratic Emotions." Journal of Human Development and Capabilities 11.3 (2010): 397-423. Collegum. Web. 6 Jan.