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the Count's pocket and is wishing she had kept their rendezvous a secret. As she leaves, Suzanne falls to her knees, and agrees to go through with the plan to trick the Count. Together they write a note to him entitled "A New Song on the Breeze" (a reference to the
Countess's old habit of communicating with the Count through sheet music dropped from her window), which tells him that she will meet him under the chestnut trees. The Countess lends Suzanne a pin from her dress to seal the letter, but as she does so, the ribbon from Chérubin falls out of the top of her dress. At that moment, Fanchette enters with Chérubin disguised as a girl, a shepherdess, and girls from the town to give the Countess flowers. As thanks, the Countess kisses Chérubin on the forehead. Antonio and the Count enter—Antonio knows Chérubin is disguised because they dressed him at his daughter's (Fanchette's) house. The Countess admits to hiding Chérubin in her room earlier and the Count is about to punish him. Fanchette suddenly admits that she and the Count have been having an affair, and that, since he has promised he will give her anything she desires, he must not punish Chérubin but give him to her as a husband. Later, the wedding is interrupted by Bazile, who had wished to marry Marceline himself; but once he learns that Figaro is her son he is so horrified that he abandons his plans. Later, Figaro witnesses the Count opening the letter from Suzanne, but thinks nothing of it. After the ceremony, he notices Fanchette looking upset, and discovers that the cause is her having lost the pin that was used to seal the letter, which the Count had told her to give back to Suzanne. Figaro nearly faints at the news, believing Suzanne's secret communication means that she has been unfaithful and, restraining tears, he announces to Marceline that he is going to seek vengeance on both the Count and Suzanne.
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Chérubin do not want to be caught alone in a bedroom together, Chérubin hides behind an armchair. When the Count enters, he propositions
Suzanne (who continues to refuse to sleep with him). They are then interrupted by Bazile's entrance. Again, not wanting to be found in a bedroom with Suzanne, the Count hides behind the armchair. Chérubin is forced to throw himself on top of the armchair so the Count will not find him, and Suzanne covers him with a dress so Bazile cannot see him. Bazile stands in the doorway and begins to tell Suzanne all the latest gossip. When he mentions a rumour that there is a relationship between the Countess and Chérubin, the Count becomes outraged and stands up, revealing himself. The Count justifies his firing Chérubin to Bazile and the horrified Suzanne (now worried that Bazile will believe that she and the Count are having an affair). The Count re-enacts finding Chérubin behind the door in Fanchette's room by lifting the dress covering Chérubin, accidentally uncovering Chérubin's hiding spot for the second time. The Count is afraid that Chérubin will reveal the earlier conversation in which he was propositioning Suzanne, and so decides to send him away at once as a soldier. Figaro then enters with the Countess, who is still oblivious to her husband's plans. A troupe of wedding guests enters with him, intending to begin the wedding ceremony immediately. The Count is able to persuade them to hold it back a few more hours, giving himself more time to enact his plans.
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having an affair and that her lover will appear at the wedding; this, he hopes, will motivate the Count to let the wedding go ahead. Suzanne and the
Countess have doubts about the effectiveness of the plot; they decide to tell the Count that Suzanne has agreed to his proposal, and then to embarrass him by sending out Chérubin dressed in Suzanne's gown to meet him. They stop Chérubin from leaving and begin to dress him, but just when Suzanne steps out of the room, the Count comes in. Chérubin hides, half dressed, in the adjoining dressing room while the Count grows increasingly suspicious, especially after having just heard Figaro's rumour of the Countess's affair. He leaves to get tools to break open the dressing room door, giving Chérubin enough time to escape through the window and Suzanne time to take his place in the dressing room; when the Count opens the door, it appears that Suzanne was inside there all along. Just when it seems he calms down, the gardener Antonio runs in screaming that a half-dressed man just jumped from the Countess's window. The Count's fears are settled again once Figaro takes credit to being the jumper, claiming that he started the rumour of the Countess having an affair as a prank and that while he was waiting for Suzanne he became frightened of the Count's wrath, jumping out the window in terror. Just then Marceline, Bartholo and the judge Brid'oison come to inform Figaro that his trial is starting.
599:, humiliating the pair and also ensuring ease of obtaining a divorce. After a tirade against the aristocracy and the unhappy state of his life, Figaro hides nearby. The Countess and Suzanne then enter, each dressed in the other's clothes. They are aware that Figaro is watching, and Suzanne is upset that her husband would doubt her so much as to think she would ever really be unfaithful to him. Soon afterward the Count comes, and the disguised Countess goes off with him. Figaro is outraged, and goes to the woman he thinks is the Countess to complain; he realises that he is talking to his own wife Suzanne, who scolds him for his lack of confidence in her. Figaro agrees that he was being stupid, and they are quickly reconciled. Just then the Count comes out and sees what he thinks is his own wife kissing Figaro, and races to stop the scene. At this point, all the people who had been instructed to come on Figaro's orders arrive, and the real Countess reveals herself. The Count falls to his knees and begs her for forgiveness, which she grants. After all other loose ends are tied up, the cast breaks into song before the curtain falls.
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been pressing her to begin an affair with him. Figaro at once goes to work trying to find a solution to this problem. Then Dr. Bartholo and
Marceline pass through, discussing a lawsuit they are to file against Figaro, who owes Marceline a good deal of money and has promised to marry her if he fails to repay the sum; his marriage to Suzanne will potentially void the contract. Bartholo relishes the news that Rosine is unhappy in her marriage, and they discuss the expectation that the Count will take Figaro's side in the lawsuit if Suzanne should submit to his advances. Marceline herself is in love with Figaro, and hopes to discourage Suzanne from this.
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lines offend the
Sublime Porte, Persia, some part or other of the East Indies, the whole of Egypt, the kingdoms of Cyrenaica, Tripoli, Tunis, Algiers and Morocco. Behold my comedy scuppered to please a set of Mohammedan princes—not one of whom I believe can read—who habitually beat a tattoo on our shoulders to the tune of "Down with the Christian dogs!" Unable to break my spirit, they decided to take it out on my body. My cheeks grew hollowed: my time was out. I saw in the distance the approach of the fell sergeant, his quill stuck into his wig.
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Figaro and
Suzanne talk before the wedding, and Figaro tells Suzanne that if the Count still thinks she is going to meet him in the garden later, she should just let him stand there waiting all night. Suzanne promises, but the Countess grows upset when she hears this news, thinking that Suzanne is in
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done to deserve such advantages? Put yourself to the trouble of being born—nothing more. For the rest—a very ordinary man! Whereas I, lost among the obscure crowd, have had to deploy more knowledge, more calculation and skill merely to survive than has sufficed to rule all the provinces of Spain for
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After a brief confrontation between
Marceline and Suzanne, a young pageboy named Chérubin comes to tell Suzanne that he has been dismissed for being caught hiding in the bedroom of Fanchette, the gardener's daughter. The conversation is interrupted by the entrance of the Count, and since Suzanne and
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Court is then held, and after a few minor cases, Figaro's trial occurs. Much is made of the fact that Figaro has no middle or last name, and he explains that it is because he was kidnapped as a baby and doesn't know his real name. The Count rules in
Marceline's favour, effectively forcing Figaro to
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The ridiculous character of Don Guzman was a jab at a judge, Louis
Valentin Goëzman, whom Beaumarchais had—in vain—tried to bribe once, offering jewels to his wife and money to his secretary. Beaumarchais gained public acclaim for directly challenging the judge in a series of pamphlets collectively
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has fallen in love with a girl called Rosine. He disguises himself to ensure that she will love him back for his character, not his wealth. But this is all foiled when Rosine's guardian, Doctor
Bartholo, who wants her hand in marriage, confines her to the house. The Count runs into an ex-servant of
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The scene is the Countess's bedroom. Suzanne has just broken the news of the Count's action to the Countess, who is distraught. Figaro enters and tells them that he has set in motion a new plan to distract the Count from his intentions toward Suzanne by starting a false rumour that the Countess is
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I throw myself full-force into the theatre. Alas, I might as well have put a stone round my neck! I fudge up a play about the manners of the Seraglio; a Spanish author, I imagined, could attack Mahomet without scruple; but immediately some envoy from goodness-knows-where complains that some of my
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The play begins in a room in the Count's castle—the bedroom to be shared by Figaro and Suzanne after their wedding, which is set to occur later that day. Suzanne reveals to Figaro her suspicion that the Count gave them this particular room because it is so close to his own, and that the Count has
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that he forbade its public presentation. Beaumarchais revised the text, moving the action from France to Spain, and after further scrutiny by the censor the piece was played to an audience including members of the Royal Family in September 1783. The censors still refused to license the play for
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as Figaro is engaged to be married to Suzanne; both characters are among the Count's staff in his household. In the three years since Figaro helped forge the marriage of the Count and Rosine, the Count has already grown bored with his marriage and is taking notice of Suzanne. The Count looks to
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Beaumarchais wrote detailed notes on the characters, printed in the first published text of the play, issued in 1785. The author prescribed that Figaro must be played without any suggestion of caricature; the Count with great dignity yet with grace and affability; the Countess with restrained
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Figaro and the Count exchange a few words, until Suzanne, at the insistence of the Countess, goes to the Count and tells him that she has decided that she will begin an affair with him, and asks he meet her after the wedding. The Countess has actually promised to appear at the assignation in
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in London in late 1784 and early 1785. In France the play has held its place in the repertory, and leading companies have played it in the original language to audiences in Europe and America. In 1960 a Comédie Française production was filmed, under the direction of Jean Mayer, with
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by a woman. Beaumarchais said that in the original company, there were no boys available who were both the right age and who could understand all the subtleties of the role: most of the character's comic traits come from the view of an adult looking back on puberty with amusement.
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Figaro is thrilled to have rediscovered his parents, but Suzanne's uncle, Antonio, insists that Suzanne cannot marry Figaro now, because he is illegitimate. Marceline and Bartholo are persuaded to marry in order to correct this problem.
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Suzanne's place. The Count is glad to hear that Suzanne has seemingly decided to go along with his advances, but his mood sours again once he hears her talking to Figaro and saying it was only done so they might win the case.
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in 1781, after which three years elapsed before it was publicly staged. Initially the text was approved, with minor changes, by the official censor, but at a private reading before the French court the play so shocked King
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I'd tell him that stupidities acquire importance only in so far as their circulation is restricted, that unless there is liberty to criticize, praise has no value, and that only trivial minds are apprehensive of trivial
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In the castle gardens beneath a grove of chestnut trees, Figaro has called together a group of men and instructs them to call together everyone they can find: he intends to have them all walk in on the Count and Suzanne
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No, my lord Count, you shan't have her... you shall not have her! Just because you are a great nobleman, you think you are a great genius—Nobility, fortune, rank, position! How proud they make a man feel! What have
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opened to enormous success; it was said to have grossed 100,000 francs in the first twenty showings, and the theatre was so packed that three people were reportedly crushed to death in the opening-night crowd.
565:(lobster) on Figaro's arm—he is her son, and Dr. Bartholo is his father. Just then Suzanne runs in with enough money to repay Marceline, given to her by the Countess. At this, the Count storms off in outrage.
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the production. It was a great success, garnering ten curtain calls on opening night. Thanks to the cohesive unity and rhythmic qualities of the production, it is recognised as one of Stanislavski's major
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throughout most of Europe was around that same age; hence, the revelation that she and the adult Count are sleeping together was not meant to be quite as shocking as it is often perceived these days.
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on 27 April 1784 and ran for 68 consecutive performances, earning higher box-office receipts than any other French play of the eighteenth century. The author gave his share of the profits to charity.
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tenderness; Suzanne as intelligent and lively but without brazen gaiety; Chérubin as a charming young scamp, diffident only in the presence of the Countess. Chérubin is traditionally played as a
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The scholar and translator John Wood writes that the play was probably completed in more or less its existing form by 1778. It was accepted for production by the management of the
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his (now a barber), Figaro, and pressures him into setting up a meeting between the Count and Rosine. He succeeds and the lovers are married to end the first part of the trilogy.
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broadcast a production of Beaumarchais' play in John Wells's translation; in December 2010 the same station transmitted a new version, adapted and directed by David Timson.
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In the aftermath of these events Beaumarchais was stripped of his civil rights in 1773. He eventually regained them by pledging allegiance to
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Stanislavsky relocated the action in pre-Revolutionary France and trimmed its five-act structure to eleven scenes, employing a
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marry her, when Marceline suddenly recognizes a birthmark (or scar or tattoo; the text is unclear) in the shape of a
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One of the defining moments of the play—and Louis XVI's particular objection to the piece—is Figaro's long
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and Louis XVI and carrying out secret missions for the government. His rights were restored in 1778
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Advertisement for the first English production, which opened in December 1784
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Marceline, the housekeeper; in love with Figaro, unknowingly Figaro's mother
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Chérubin, the Count's page, the Countess' godson; in love with every woman
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1295:. Vol. 10 (11th ed.). Cambridge University Press. p. 334.
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317:, who was in France as an American emissary, attended an early showing.
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Memoirs of the Life, Exile, and Conversations of the Emperor Napoleon,
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public performance, but the king personally authorised its production.
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1785 print showing the Count discovering Chérubin in Suzanne's bedroom
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Antonio, gardener of the castle; uncle of Suzanne, father of Fanchette
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260:, was produced in Venice with libretto by Gaetano Rossi and music by
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173:. This play is the second in the Figaro trilogy, preceded by
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Bartholo, a doctor from Seville; unknowingly Figaro's father
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The play formed the basis for an opera with a libretto by
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Las Cases, Emmanuel-Auguste-Dieudonné, Comte de (1855).
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said that the play "killed off the nobility"; in exile,
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Fanchette is around twelve years old. At the time, the
256:(1786). In 1799, another opera based on the same play,
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The play is set at the castle of Aguas Frescas, three
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The Follies of a Day – Or The Marriage of Figaro
215:. In his preface to the play, Beaumarchais says that
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called it "the Revolution already put into action."
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234:Thanks to the great popularity of its predecessor,
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611:in the fifth act, directly challenging the Count:
430:Fanchette, daughter of Antonio, girlfriend to many
907:Wardle, Irving. "A comedy which does not dance",
258:La pazza giornata, ovvero Il matrimonio di Figaro
161:("The Mad Day, or The Marriage of Figaro")) is a
1055:The French Revolution and the Birth of Modernity
1726: Opera
1688: Opera
851:, 16 January 1964; and "Le Mariage de Figaro",
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2584:Le barbier de Séville ou La précaution inutile
421:Suzanne, the Countess' maid; engaged to Figaro
1921:Tromb-al-ca-zar, ou Les criminels dramatiques
1798:
1315:
8:
1161:: CS1 maint: multiple names: authors list (
1114:The Marriage of Figaro/Le Nozze di Figaro –
1057:. Berkeley: University of California Press.
530:The Countess, Chérubin and Suzanne in Act II
1076:. Baton Rouge, FL: Opera Classics Library.
1049:(online version contains no page numbering)
403:Costume design for Figaro (1807 production)
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1116:Volume 17 of English National Opera Guides
445:Doublemain, clerk to Don Guzman Brid'oison
275:picks up three years following the end of
55:
46:
2594:La folle journée, ou Le mariage de Figaro
1235:La Folle Journée, ou Le Mariage de Figaro
307:La Folle Journée, ou Le Mariage de Figaro
159:La Folle Journée, ou Le Mariage de Figaro
1031:Coward, David (trans and intro) (2003).
718:
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469:Servants, valets, peasants, and huntsmen
328:The play was translated into English by
1555:The Crazy Day or The Marriage of Figaro
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885:
883:
690:
647:
1189:Living Theatre: History of the Theatre
1187:Wilson, Edwin; Alvin Goldfarb (2008).
1154:
1074:"Introduction." The Marriage of Figaro
371:Beaumarchais' comedy was adapted into
2120:Croquefer, ou Le dernier des paladins
1206:Wood, John (trans and intro) (1964).
1095:. New York: Dramatists Play Service.
1005:, The Tulane Drama Review 2.2 (1958)
843:"Barrault Company Opens Here Feb. 25"
777:
775:
773:
408:Count Almaviva, Governor of Andalusia
63:The Marriage of Figaro
61:Title page from the first edition of
7:
590:1785 print showing Act V of the play
439:Bazile, music master to the Countess
387:Theatre on 24 October 2008. In 1984
30:This article is about the comedy by
2160:M. Choufleuri restera chez lui le …
1443:Adventures of the Barber of Seville
1214:. Harmondsworth: Penguin Classics.
1172:A Source Book in Theatrical History
1037:. Oxford: Oxford University Press.
1003:"Preface to The Marriage of Figaro"
2077:Vent du soir, ou L'horrible festin
800:. London: BBC Books. p. 268.
27:French play by Pierre Beaumarchais
25:
1495:The Cat Above and the Mouse Below
923:, BBC, retrieved 23 December 2012
192:, the story begins with a simple
2642:
2641:
2625:
2611:
2550:(conversation alsacienne) (1863)
2220:La Grande-Duchesse de GĂ©rolstein
1984:La chatte métamorphosée en femme
1846:
1656:Fantasy on Themes from Mozart's
1588:Sull'aria...che soave zeffiretto
1263:
864:"Figaro Recovers its Message.",
1649: Related
835:"French Season at Piccadilly",
485:Mémoires dans l'affaire Goëzman
442:Don Guzman Brid'oison, a judge.
360:company presented a version by
217:Louis François, Prince of Conti
1014:Stanislavski: His Life and Art
451:Pedrillo, the Count's huntsman
414:Figaro, the Count's valet and
1:
2540:(chinoiserie musicale) (1855)
383:. The play premiered at the
2675:Plays by Pierre Beaumarchais
1170:Nagler, Alois Maria (1959).
1110:John, Nicholas, ed. (1983).
823:The Daily Universal Register
448:Gripe-Soleil, a shepherd lad
338:Theatre Royal, Covent Garden
2373:La permission de dix heures
2057:Le financier et le savetier
1273:public domain audiobook at
223:. The revolutionary leader
2706:
2260:La princesse de Trébizonde
658:to quicken scene-changes.
29:
2690:Plays adapted into operas
2605:
2530:(légende bretonne) (1855)
2453:La fille du tambour-major
2097:Apothicaire et perruquier
1964:Une demoiselle en loterie
1750:Figaro läßt sich scheiden
1072:Fisher, Burton D (2001).
841:26 February 1963, p. 14;
411:Countess Rosine, his wife
332:, and under the title of
309:, the play opened at the
54:
2353:Monsieur et Madame Denis
1974:Le mariage aux lanternes
1704:The Ghosts of Versailles
1474:(Woody Woodpecker, 1944)
1464:Our Gang Follies of 1938
1012:Benedetti, Jean (1999).
143:The Count's castle near
1758:The Abduction of Figaro
1361:(Paisiello, 1782 opera)
1358:Il barbiere di Siviglia
1292:Encyclopædia Britannica
1191:. Boston: McGraw-Hill.
1121:. London: John Calder.
1007:(subscription required)
877:Benedetti, pp. 306–08).
855:, 4 October 1997, p. 38
722:Coward, unnumbered page
352:staged the work at the
350:Constantin Stanislavski
336:it was produced at the
2496:Le voyage dans la lune
2343:La chanson de Fortunio
1944:La rose de Saint-Flour
1638:The Marriage of Figaro
1630:The Marriage of Figaro
1614:The Marriage of Figaro
1595:The Marriage of Figaro
1547:The Marriage of Figaro
1530:The Marriage of Figaro
1270:The Marriage of Figaro
1212:The Marriage of Figaro
1143:. New York: Redfield.
1093:The Marriage of Figaro
1053:Fehér, Ferenc (1990).
1001:Beaumarchais, Pierre.
826:, 1 January 1795, p. 1
635:
602:
591:
531:
523:
404:
356:; in 1974 the British
325:
273:The Marriage of Figaro
253:The Marriage of Figaro
236:The Marriage of Figaro
158:
154:The Marriage of Figaro
50:The Marriage of Figaro
40:The Marriage of Figaro
1902:Bouffonnerie musicale
1842:The Tales of Hoffmann
1766:Figaro Gets a Divorce
1498:(Tom and Jerry, 1964)
1471:The Barber of Seville
1435:Le Barbier de SĂ©ville
1427:The Barber of Seville
1419:The Barber of Seville
1411:The Barber of Seville
1392:The Barber of Seville
1369:(Rossini, 1816 opera)
1366:The Barber of Seville
1341:The Barber of Seville
1208:The Barber of Seville
1174:. Mineola NY: Dover.
1091:Holden, Joan (2006).
589:
529:
521:
402:
323:
280:re-engage the act of
277:The Barber of Seville
176:The Barber of Seville
169:, written in 1778 by
2617:List of compositions
2574:Le malade imaginaire
2547:Lischen et Fritzchen
2140:Geneviève de Brabant
2087:Mesdames de la Halle
2034:Pierrette et Jacquot
1550:(Mozart, 1786 opera)
1250:Le Mariage de Figaro
889:Benedetti, p. 308).
868:, 21 July 1960, p. 7
638:Notes and references
597:in flagrante delicto
418:; engaged to Suzanne
18:Le Mariage de Figaro
2413:La jolie parfumeuse
2170:Le pont des soupirs
1331:Pierre Beaumarchais
1016:. London: Methuen.
911:10 July 1974, p. 11
898:Benedetti, p. 309).
381:William James Royce
379:" in Three Acts by
305:Under the title of
196:in which a Spanish
188:In the first play,
171:Pierre Beaumarchais
74:Pierre Beaumarchais
34:. For the opera by
32:Pierre Beaumarchais
2680:Plays set in Spain
2240:L'île de Tulipatan
1994:Un mari Ă la porte
1745:(Mercadante, 1835)
1707:(Corigliano, 1991)
1482:(Bugs Bunny, 1950)
1034:The Figaro Trilogy
848:The New York Times
592:
532:
524:
405:
354:Moscow Art Theatre
326:
288:Production history
229:Napoleon Bonaparte
2657:
2656:
2631:List of operettas
2558:
2557:
2280:Madame l'archiduc
2230:Le château à Toto
2210:La vie parisienne
2180:Bavard et bavarde
2130:Orphée aux enfers
2067:La bonne d'enfant
2014:Il signor Fagotto
1911:Les deux aveugles
1895:Other stage works
1814:Jacques Offenbach
1780:
1779:
1776:
1775:
1761:(Schickele, 1984)
1714:
1713:
1679:The Guilty Mother
1672:
1671:
1523:
1522:
1479:Rabbit of Seville
1385:Largo al factotum
1333:'s Figaro Trilogy
1240:Project Gutenberg
807:978-0-563-20900-3
797:The Ascent of Man
660:Aleksandr Golovin
315:Benjamin Franklin
294:Comédie Française
221:French Revolution
207:was written as a
182:The Guilty Mother
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122:Original language
16:(Redirected from
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2004:Daphnis et Chloé
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1879:Gaîté Parisienne
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358:National Theatre
311:Théâtre Français
244:Lorenzo Da Ponte
179:and followed by
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1286:"Figaro"
1283:, ed. (1911).
1281:Chisholm, Hugh
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1228:External links
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1198:978-0822221333
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2685:Sequel plays
2647:Compositions
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2527:Le violoneux
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2270:Les brigands
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2250:La PĂ©richole
2248:
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2213:(1866, 1873)
2208:
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2110:Opéra bouffe
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1742:I due Figaro
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1734:I due Figaro
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940:
921:"Drama on 3"
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476:trouser role
472:
466:A magistrate
385:Norton Clapp
373:One Mad Day!
372:
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205:The Marriage
204:
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87:The Countess
62:
44:
2518:Other types
2506:Whittington
2363:Les bergers
2200:Barbe-bleue
2024:Pomme d'api
1870:Le papillon
1597:discography
1394:discography
1259:(in French)
1244:(in French)
971:Wood, p. 18
962:Wood, p. 17
953:Wood, p. 16
781:Wood, p. 23
758:Wood, p. 22
749:John, p. 11
633:scribbling.
389:BBC Radio 3
345:as Figaro.
2670:1784 plays
2664:Categories
2537:Ba-ta-clan
1882:(arranged
1514:The Barber
1454:Shorts and
1255:Wikisource
1128:0714537713
1102:0822221330
1083:1930841825
1064:0520068793
1044:0192804138
686:References
621:a century!
416:major-domo
395:Characters
362:John Wells
213:The Barber
190:The Barber
80:Characters
70:Written by
2433:La créole
2423:Bagatelle
2393:Vert-Vert
1456:animation
1180:221870855
1157:cite book
1149:603091252
909:The Times
866:The Times
853:The Times
838:The Times
794:(1990) .
609:monologue
343:Jean Piat
299:Louis XVI
157:(French:
97:Fanchette
91:Marceline
2577:(1851/2)
2403:Fantasio
2323:L'alcĂ´ve
1934:Opérette
1516:" (1993)
1275:LibriVox
1220:58897211
1140:Volume 3
677:Louis XV
663:designed
498:Synopsis
462:alguazil
454:An usher
165:in five
99:Bartholo
93:Chérubin
2150:Barkouf
1860:Ballets
1845:(1881)
1719:Related
1665:(Liszt)
1506:Related
996:Sources
656:revolve
563:spatule
552:Act III
508:Seville
504:leagues
268:Summary
145:Seville
140:Setting
95:Antonio
89:Suzanne
2597:(1852)
2587:(1852)
2509:(1874)
2499:(1875)
2489:(1872)
2466:(1880)
2456:(1879)
2446:(1878)
2436:(1875)
2426:(1874)
2416:(1873)
2406:(1872)
2396:(1869)
2386:(1867)
2376:(1867)
2366:(1865)
2356:(1862)
2346:(1861)
2336:(1853)
2333:PĂ©pito
2326:(1847)
2303:(1878)
2293:(1877)
2283:(1874)
2273:(1869)
2263:(1869)
2253:(1868)
2243:(1868)
2233:(1868)
2223:(1867)
2203:(1866)
2193:(1864)
2183:(1862)
2173:(1861)
2163:(1861)
2153:(1860)
2143:(1859)
2133:(1858)
2123:(1857)
2100:(1861)
2090:(1858)
2080:(1861)
2070:(1856)
2060:(1856)
2037:(1876)
2027:(1873)
2017:(1863)
2007:(1860)
1997:(1859)
1987:(1858)
1977:(1857)
1967:(1857)
1957:(1856)
1947:(1856)
1924:(1856)
1914:(1855)
1835:(1864)
1822:Operas
1658:Figaro
1641:(1960)
1633:(1949)
1625:(1929)
1622:Figaro
1617:(1920)
1490:(1952)
1446:(1954)
1438:(1948)
1430:(1947)
1422:(1938)
1414:(1904)
1218:
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1125:
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573:Act IV
543:Act II
248:Mozart
209:sequel
163:comedy
125:French
117:France
83:Figaro
38:, see
36:Mozart
1954:Le 66
1566:Music
1539:Stage
1377:Music
1350:Stage
1253:from
1238:from
643:Notes
582:Act V
514:Act I
506:from
198:count
130:Genre
1660:and
1606:Film
1403:Film
1216:OCLC
1193:ISBN
1176:OCLC
1163:link
1145:OCLC
1123:ISBN
1097:ISBN
1078:ISBN
1059:ISBN
1039:ISBN
1018:ISBN
802:ISBN
167:acts
108:1784
1210:and
618:you
460:An
375:a "
211:to
2666::
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1159:}}
1155:{{
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