By 1786, Wolfgang Amadeus Mozart was most likely the most experienced and achieved 30-year-old musician the earth has ever observed, with a large number of now-canonical symphonies, concertos, sonatas, chamber works and masses behind him currently. He also had 18 operas to his name, but none of these that would become his hottest. Over the ultimate 5 years of his life (he died in 1791), Mozart would compose 4 operas which are being among the most critical and well-known in the normal repertoire. This remarkably productive amount of creative, essential and common success for Mozart started with Le nozze di Figaro (The Marriage of Figaro), which received its world premiere in Vienna, Austria, on May 1, 1786.
Figaro was the 1st collaboration among Mozart and librettist Lorenzo da Ponte, and because of their source material they opt for controversial play by the French writer Beaumarchais: La folle journée, ou le Mariage de Figaro, the next part of a trilogy that began with Le Barbier de Séville (later the foundation for the Rossini opera). Figaro the play was censored in Beaumarchais’s native France a lot more than concern about its “subversive” plotline, which depicts the efforts of a Spanish nobleman, Count Almaviva, to seduce Suzanne, a sensational young servant of his wife, and then be thwarted and humiliated by his wife, the Countess Rosina, employed in concert with the Count’s servant, Figaro, who’s also Suzanne’s fiancée. To the French nobility of that time period, Figaro was observed as condoning class conflict, but Mozart and Lorenzo da Ponte were able to allay any issues on the component of their patron, the Hapsburg Emperor Joseph II, by transforming the complete story right into a light comedy. (Mozart’s effective pitch for Figaro is imagined in a comic scene in the film Amadeus (1984), where the Emperor begins by saying to Mozart, “Figaro is a bad play. It stirs up hatred between the classes… My own dear sister Antoinette writes me that she is beginning to be frightened of her own people.”)
The combination of da Ponte’s libretto and Mozart’s score created Le nozze di Figaro an instantaneous achievement and resulted in two additional triumphant collaborations on Don Giovanni and Cosî fan tutte. There have already been 5 encores through the entire premiere efficiency of Figaro with this day in 1786, week later and seven throughout its second functionality an individual, prompting the emperor himself to impose a ban on encores throughout future performances, to be able “to prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces.”