#countess almaviva

[supercantaloupe]

le nozze di figaro act ii

[leporellian]

also i think marcellina is a comphet lesbian but like she should be a little #toxic about it. i think at some point when rosina was a teenager and was starting to think waaaait a minute i'm not sure bartolo will let me marry someone i actually like (well before rosina is like Waitafuckingminute he plans to marry me) marcellina was like dude its so fine!!! literally nobody is actually for real attracted to men innately you just have to lie down and tell yourself over and over again this is what you want and you like whoever it is for real and eventually you'll like him! it's fine! and rosina (straight, has been attracted to men) just kind of stares uncomfortably back at her

[smallpoxlarry]

(inhale) silkie chicken countess almaviva as inspired by rachelle durkin in the sydney opera house's production of le nozze di figaro (exhale)

[sculpturegallery]

Countess Almaviva - philip jackson

[fidelio84]

Cherubino vs. Chérubin

To my previous comparisons, which show that Da Ponte’s and Mozart’s Cherubino is much kinder than Beaumarchais’ Chérubin, I would like to add another. Just before Chérubin jumps out of the window in Beaumarchais, he says to Susanna:

“Dans un gouffre allumé, Suzon ! oui, je m’y jetterais, plutôt que de lui nuire... Et ce baiser va me porter bonheur.” (Il l’embrasse et court sauter par la fenêtre.) “Into a flaming abyss, Suzon! Yes, I’d rather throw myself into it than harm her ... And this kiss will bring me luck.” (He kisses her and jumps out of the window.)

In the opera, however, he says:

“Pria di nuocerle nel fuoco volerei. Abbraccio te per lei – Addio: così si fa.” “Before I harm her, I’ll jump into the fire. I embrace you in her place. Farewell: that’s how you do it!”

Two changes stand out in particular.

1) In Beaumarchais he kisses Susanna, in Mozart he embraces her. The intimate and intrusive kiss has been replaced with a more harmless embrace. While this embrace still brings Cherubino close to Susanna, it seems that Da Ponte intended to portray Cherubino as more respectful and amiable, rather than a pushy little version of the Count. He enjoys the company of women, but unlike the Count, he respects them and has no desire to be overbearing. 2) In Beaumarchais’ play, he kisses Susanna solely for self-serving reasons, viewing the kiss as a lucky charm. This selfishness is absent in the opera adaptation. In the opera, he only thinks of the Countess, and the embrace is no longer seen as a means of obtaining luck. Rather, it reflects Cherubino’s more innocent and childlike desire to embrace and hold the Countess. Naturally, Cherubino could have said, “I’ll kiss you instead of her,” but that would have conveyed a completely different message. It would have indicated that his primary interest was in kissing, rather than in other, more “innocent” gestures like hugging.

[opera-shitpost]

Reverse character development (literally, since Nozze came out before Barbiere)

[tiger-manya]

I love Le Nozze di Figaro so much.

[leporellian]

was going to make a post about how figaro rosina and marcellina should go kill bartolo as a bonding activity and then i remembered that’s already the existing plot of gosford park . 2001