Lorenzo Da Ponte (1749–1838)

The story in outline: randy husband with roving eye chases reluctant young woman while neglected wife schemes to rewin husband’s affections. Meanwhile, woman’s fiancé struggles with issues of trust as youthful neighbour comes to terms with coming of age.
Mozart's "The Marriage of Figaro" embodied the spirit of the French Revolution when it premiered in 1786, portraying the comic triumph of skilled and quick-witted middle-class servants over their pompous and decadent royal masters. The show more Beaumarchais play from which this opera drew inspiration had been banned in Paris for its volatile political content: finding dark humour in class power struggles was dangerous business in pre-Revolutionary France. For the many fans of the effervescent masterpiece today, its revolutionary overtones are all but lost. Yet it endures because Mozart went beyond the class struggles of his day to weave many of life's timeless themes into the opera: love and betrothal, betrayal and justice, greed and vengence, innocent youth and jaded old age. Characters who Beaumarchais sketched as ideologically shaded silhouettes gain through Mozart’s music the hearts and souls of persons one might embrace. A youth trembling with new passions. A young man confident of his cleverness. A loving wife, forlorn, her husband estranged. Couples that, like real couples, can both quarrel and forgive. show less

This libretto, a comedy, is a little complex- but I still found it to be appealing. There are many twists and turns to it and, for a modern reader, it offers a glimpse into the aristocratic intrigues that revolved around the heights of the time that this was composed. I read an edition that had the original Italian libretto next to it, so it was also useful in teaching me a few Italian words at the same time.

Worth it! 3.5 stars.

The memoirs give interesting insights into the world of music and patronage in eighteenth century Europe. Da Ponte comes across as a sincere but naïve person. He was undoubtedly a gifted librettist but he was probably very bad at the business of music or in fact any business. I had been hoping to learn about his collaboration with Mozart but there is very little information. Overall an interesting autobiography.

Not sure if it's my familiarity with the material or that Tatiana Troyanos can enunciate the hell out of her part. Her tone is just a bit too mellow for a very young man, but ee-by-gum you can understand everything she says. Fischer-Dieskaw as the Conte comes off dark throughout. Surely there's room for some lightness. Delightful recording that includes some arias often left out of staged productions.