Musical Style
- In spite of all the sorrow, anxiety, and anger the characters experience, only one number is in a minor key: Barbarina's brief aria L'ho perduta at the beginning of act 4, where she mourns the loss of the pin and worries about what her master will say when she fails to deliver it, is written in F minor. Other than this, the entire opera is set in major keys except the opening few bars of the duet between Susanna and the Count at the beginning of act 3 ("Crudel, perché finora") which are in the key of A minor; the duet then quickly modulate via C major to A major.
- Mozart uses the sound of two horns playing together to represent cuckoldry, in the act 4 aria "Aprite un po quelli'ochi". Verdi later used the same device in Ford's aria in Falstaff.
Read more about this topic: The Marriage Of Figaro
Famous quotes containing the words musical and/or style:
“Then, bringing me the joy we feel when wee see a work by our favorite painter which differs from any other that we know, or if we are led before a painting of which we have until then only seen a pencil sketch, if a musical piece heard only on the piano appears before us clothed in the colors of the orchestra, my grandfather called me the [hawthorn] hedge at Tansonville, saying, “You who are so fond of hawthorns, look at this pink thorn, isn’t it lovely?””
—Marcel Proust (1871–1922)
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)