Instruct: Given a question, retrieve documents that answer the question.
Query: Who wrote the Libretto for The Marriage of Figaro?
The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced[le ˈnɔttse di ˈfiːɡaro]), K.492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.
"The Marriage of Figaro" picks up three years following the end of "The Barber of Seville" as Figaro is engaged to be married to Suzanne; both characters are among the Count's staff in his dwelling. 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 re-engage the act of primae noctis, in which he would consummate the marriage with the bride-to-be prior to Figaro's honeymoon.
He wrote the libretto for and directed Elena Langer's opera "Figaro Gets a Divorce", which was premiered at the Welsh National Opera in February 2016.
The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives.[4] Contrary to the popular myth, the libretto was approved by the Emperor before any music was written by Mozart.[5]
The characters of Figaro and his associates were so popular that other dramatists had written sequels to "The Barber of Seville" and "The Marriage of Figaro", most notably M-N Delon, who brought out "Le Mariage de Cherubin" in 1785 and "Le Mariage de Fanchette" the following year. In the preface to the first published edition of "The Marriage of Figaro", Beaumarchais had declared his intention of writing a sequel. 
Figaro lässt sich scheiden, op.40, ("Figaro Gets Divorced") is an opera in two acts by Giselher Klebe based on the comedy of the same name by Ödön von Horváth. Klebe also wrote the libretto for this work.
Her second husband was the opera librettist and writer Paul Milliet. He wrote the libretto for Jules Massenet's "Hérodiade" in which she sang the role of Salomé in Monte-Carlo in 1903 with Emma Calvé in the title role. Some of the other roles Adini performed on stage were Anita in "La Navarraise", Brunehild in "Sigurd", Catherine d'Aragon in "Henry VIII", Charlotte in "Werther", Chimène in "Le Cid", Countess Almaviva in "The Marriage of Figaro", Desdemona in "Otello", Isolde in "Tristan und Isolde", Rachel in "La Juive", Sélika in "L'Africaine", Simonetta in "I Medici", Valentine in "Les Huguenots", and Venus in "Tannhäuser".
In 1786, Wolfgang Amadeus Mozart composed an opera, "Le Nozze di Figaro", based on "The Marriage of Figaro", with a libretto by Lorenzo Da Ponte based on the play. Several composers including Paisiello in 1782 wrote operas based on "The Barber of Seville". Rossini's 1816 version is his most successful work and still often performed. In 1966, Darius Milhaud composed an opera, "La mère coupable", based on "The Guilty Mother".
In Mozart's "The Marriage of Figaro", which premiered in 1786 with a libretto by Lorenzo Da Ponte, the comic plot revolves around the successful efforts of the young bride and groom, Figaro and Susanna, to block the efforts of the unfaithful Count Almaviva to seduce Susanna. To achieve his aim, the frustrated Count threatens to reinstitute "droit du seigneur". It was based on a play by Pierre Beaumarchais.
Marcos António da Fonseca Portugal was born in Lisbon. He studied music at the Patriarchal Seminary in Lisbon where, as a 14-year-old student, he wrote his first work, a "Miserere". He later worked as composer and organist at the Patriarchal See, and was "maestro" at the Theatre of Salitre in Lisbon from c. 1784. He lived in Italy from late 1792 to 1800, possibly funded by the Prince Regent D. João, the later King John VI of Portugal. He wrote 21 operas for various Italian theatres. The first, "I due gobbi" (also known as "Confusioni della Somiglianza"), premiered in Florence in the spring of 1793. His version of "The Marriage of Figaro", titled "La pazza giornata, ovvero Il matrimonio di Figaro" (The Crazy Day, or The Marriage of Figaro), to a libretto by Gaetano Rossi, premiered in Venice in 1799. Like most theatre composers of the time, Portugal set several librettos that had proven successful for earlier operas, such as Metastasio's "Demofoonte" (premièred at La Scala, Milan, in 1794) and "Artaserse"; he set many stories that had been used before, including Serse, Alceste, Adrasto, Semiramide and Sofonisba.
Marcos Portugal returned to Portugal in 1800. He became "maestro" at the São Carlos National Theatre in Lisbon and was appointed music master at the Patriarchal Seminary in Lisbon. He continued to write operas, mainly "opere serie", and a large number of religious works, until the Prince Regent summoned him to the Portuguese colony of Brazil in 1811. Upon arriving, Portugal was appointed music master to the sons and daughters of the Prince Regent and became the official Royal Composer.
The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.
During an instrumental interlude, the music creates a thunder storm to indicate the passage of time. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and accuses him of betraying her. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, who later turn out to be Basilio and the notary. However, when the Count, Rosina, and Figaro attempt to leave by way of the ladder, they discover it has been removed. The marriage contract requires two witnesses; Figaro is one, but another is needed. The Count makes Basilio an offer he can't refuse: the choice of accepting a bribe and being a witness to his marriage or receiving two bullets in the head (an easy choice, Basilio says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, accompanied by the Officer and the men of the watch, but too late; the marriage is already complete. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry. The opera concludes with an anthem to love ("Amor e fede eterna, si vegga in noi regnar!").
Lorenzo Da Ponte wrote a preface to the first published version of the libretto, in which he boldly claimed that he and Mozart had created a new form of music drama:
"" (You shall go no more) is an aria for bass from Mozart's 1786 opera "The Marriage of Figaro", K. 492. The Italian libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, "La folle journée, ou le Mariage de Figaro" (1784). It is sung by Figaro at the end of the first act.
She has written new English versions of six operas, including "Eugene Onegin" and "The Marriage of Figaro." Her librettos for "La Bohème" and "Don Giovanni" are published by Oberon. Her agent is Micheline Steinberg.
Cherubino arrives, sent in by Figaro and eager to co-operate. Susanna urges him to sing the song he wrote for the Countess (aria: "Voi che sapete che cosa è amor" – "You ladies who know what love is, is it what I'm suffering from?"). After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring (which would be necessary to make it an official document).
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 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.
"Figaro Gets a Divorce" is conceived as a sequel to Mozart's 1786 opera "Le Nozze di Figaro (The Marriage of Figaro)" based on the 1778 play "La Folle Journée, ou Le Mariage de Figaro", by Pierre Beaumarchais. This had been created by Beaumarchais as a sequel to his play "Le Barbier de Séville". The latter was also set as the opera "The Barber of Seville" by Rossini in 1816 (itself preceded by other versions, including a 1782 setting by Giovanni Paisiello). Pountney, who in his capacity as Chief Executive and Artistic Director of the Welsh National Opera commissioned the composition, was inspired in his libretto by two different theatrical follow-ups to these two plays, Beaumarchais's own "La Mère coupable (The Guilty Mother)", and Ödön von Horváth's 1936 play, "Figaro läßt sich scheiden (Figaro Gets a Divorce)." Both of these plays have previous operatic settings, the former by Darius Milhaud (1966), Inger Wikström ("Den brottsliga modern", 2006), and Thierry Pécou (2010), the latter by Giselher Klebe (1963). The opera takes the characters into the period of the French Revolution.
Following the success of his libretto for "The Marriage of Figaro", Da Ponte was asked by Storace to provide for him a libretto based on Shakespeare. Da Ponte compressed Shakespeare's plot into two acts, but retained nearly all the key elements. "Gli equivoci" was the second of Storace's operas to be performed at the Burgtheater.
The cavatina "" is an aria for baritone or bass from the first act of the opera "The Marriage of Figaro" by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). The Italian title means "If you want to dance".
In 2011 David Pountney was appointed to succeed Fisher as chief executive. He had worked with the company since the 1970s, most recently on a 2006 "The Flying Dutchman" with Terfel which was set in space. In 2013 he programmed a trilogy of operas set in Tudor England: Donizetti's "Anna Bolena", "Maria Stuarda" and "Roberto Devereux", with another trilogy the following year, on the theme of fallen women – Puccini's "Manon Lescaut", Henze's "Boulevard Solitude" and Verdi's "La traviata". For 2016 Pountney scheduled another trilogy, this time on the theme of Figaro, consisting of Mozart's "The Marriage of Figaro" and Rossini's "The Barber of Seville" and a new work, "Figaro Gets a Divorce" with music by Elena Langer and libretto by Pountney.
The great success of this visit generated a commission from the impresario Pasquale Bondini for another opera, which like "The Marriage of Figaro" was to have a libretto by Mozart's great collaborator Lorenzo Da Ponte.
The play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Mozart, also called "The Marriage of Figaro" (1786). In 1799, another opera based on the same play, "La pazza giornata, ovvero Il matrimonio di Figaro", was produced in Venice with libretto by Gaetano Rossi and music by Marcos Portugal.
The Marriage of Figaro (German: Figaros Hochzeit) is a 1949 East German musical film directed by Georg Wildhagen and starring Angelika Hauff, Willy Domgraf-Fassbaender and Sabine Peters. It was based on the opera "The Marriage of Figaro" by Wolfgang Amadeus Mozart and Lorenzo da Ponte, which was itself based on the play "The Marriage of Figaro" by Pierre Beaumarchais. The film was made by DEFA, the state studio of East Germany. It sold 5,479,427 tickets.
When he died, the 7 February 1889 issue of "le Figaro" wrote: Gabriel de Lurieu wrote the libretto for the opera "La perle du Brésil" by Félicien David.