Played by the BRITISH NATIONAL OPERA COMPANY. Relayed from tho Theatre Royal, Leeds
THE plot of this famous Opera is taken from a play by Benumarchais, which also furnished Rossini with the plot of his Barner of Seville.
Count Almaviva (Baritone) is the fickle husband of Rosina (Soprano). He pursues several pretty girls, among them the Countess's maid Susanna (Soprano), who is betrothed to Figaro, the Count's valet (Baritone).
Figaro tries to defeat his master's designs and hasten the wedding, but the Count likes things as they are, and so does the Countess, who knows her husband's little ways. Susanna, of course, is in her confidence, and so is the young page Cherubino (Soprano), who likes to flirt with Susanna, but is desperately in love with another girl.
Marcellina (Soprano) is a housekeeper, Basilio (Tenor) is a music master, and' Bartolo (Bass) is a physician.
In Act II., Susanna and Figaro meet, and the valet tells the Countess of a plan by which he hopes to gain the consent of the Count to his wedding. He has sent an anonymous note to the Count saying that his wife intends to meet a gentleman in the garden. Susanna is to promise to meet the -Count there, but Cherubino, dressed in Susanna's clothes, will keep the appointment instead. The Countess will catch her husband in the wrong, and so humble him.
In the midst of dressing up Cherubino, the Count knocks at the door. After some small complications, Cherubino jumps out of a window, and is seen by the gardener ; but Figaro takes the blame on himself, and the Count's suspicions are allayed.
Now comes a diversion. Marcellina comes to complain that Figaro has broken a promise to marry her. The Count is glad, for he thus has another excuse to forbid his valet to wed Susanna, at any rate until the charge is looked into. This incident, the climax and end of the Act, is most effectively worked up, in Mozart's happiest style;
Interpreted by SOLOMON
Sonata in B Flat Minor, Op. 35.
Part 11. (c) Marche Funebre ; (d) Presto
CHOPIN'S Funeral March is so familiar to everyone that it is only necessary to recall its outlines.
There is the heavy, unrelenting tread of the opening, tho reiterated wail which leads to two successive outbursts of passion, and the sinking back into gloom.
Then comes the brighter, but pathetic, haunting melody, and the return to the gloom and passion of the opening.
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