The Hidden Heroine of the opera "Figaro" : The Innovation of "The Marriage of Figaro" from a comparative point of view with Beaumarchais's original play

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  • 『フィガロ』における影のヒロイン : ボーマルシェの原作から見たオペラ『フィガロの結婚』の革新性
  • 『 フィガロ 』 ニ オケル カゲ ノ ヒロイン : ボーマルシェ ノ ゲンサク カラ ミタ オペラ 『 フィガロ ノ ケッコン 』 ノ カクシンセイ

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Abstract

When Da Ponte and Mozart adapted Beaumarchais's play "Figaro" into opera, several changes were made. The most important change was the addition of the countess' two arias. These arias brought the noisy slapstick comedy silent stillness and revealed personal inner world. Thus, the opera has acquired a new perspective. By introducing his earlier masses into these arias, the music reached a religious realm. Especially, in the second aria, Mozart imitated the structure of Agnus Dei where the tempo changes from Andante of 'Agnus dei' to Allegro of 'Dona nobis'. As this tempo change represents a transition from 'prayer' to 'action', the aria came to express the countess' resolution to live in the real cruel world. With that, from a work which was born in the Enlightenment era, leading to the French Revolution, the opera "The Marriage of Figaro" became a masterpiece that transcends age and time - a masterpiece which applies to all living in this world full of suffering for any era.

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