AKO ME STIGNE SUZA TVOJA tekst Na pragu bola Padam k'o prazan list Sa stola, nikog da digne me il zgazi

Bili smo jedno Ko nijedno Al vidim vise nije ti vredno Ti mislis zivimo u lazi, Neka na mene ide sve, Sto nije islo i sto bilo je Dusa mi u mukama Umirem tu na tvojim rukama.. REFREN: Ako me stigne suza tvoja, Znaj da bila si svetinja moja, Usne ti nikad prizanle nisu Nijedna nije ti bila ni blizu Ako me stigne suza tvoja, Znaj da bila si svetinja moja, Da s tobom imam svet Ne zelim kraj, Samo me sakrij u svoj zagljaj Ne dizi ruku na nas, Dok ljubav place na glas.. Jos jedna noc na pragu tu, Muce me one noci duge Kad nisam bio tu za tebe Ne znas koliko sad me boli Sto tvoje srce manje voli Ne krivim nikog sem sebe Neka na mene ide sve, Sto nije i sto bilo je, Dusa mi u mukama, Umirem tu na tvojim rukama.. REFREN 2x

The Marriage of Figaro (play)

From Wikipedia, the free encyclopedia

The Marriage of Figaro

Title page from the first edition ofThe Marriage of Figaro

Written by

Pierre Beaumarchais

Characters

Figaro Count Almaviva The Countess Suzanne Marceline Chrubin Antonio Fanchette Bartholo

Date premiered

1784

Original language

French

Genre

Romantic comedy

Setting

The Count's castle nearSeville

The Marriage of Figaro (French: La Folle Journe, ou Le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro")) is a comedy in five acts, written in 1778 by Pierre Beaumarchais. This play is the second in the Figaro trilogy, preceded by The Barber of Seville and followed by The Guilty Mother.[1] In the first play, The Barber, the story begins with a simple love triangle in which a Spanish count has fallen in love with a girl called Rosine. He disguises himself to ensure that she will love him back for his character, not his wealth. But this is all foiled when Rosine's guardian, Doctor Bartholo, who wants her hand in marriage, confines her to the house. The Count runs into an ex-servant of his (now a barber), Figaro, and pressures him into setting up a meeting between the Count and Rosine. He succeeds and the lovers are married to end the first part of the trilogy. The Marriage was written as a sequel to The Barber. In his preface to the play, Beaumarchais says that Louis Franois, Prince of Conti had requested it. The play's denunciation of aristocratic privilege has been characterised as foreshadowing the French Revolution.[2] The revolutionary leader Georges Danton said that the play "killed off the nobility";[3] in exile, Napoleon Bonaparte called it "the Revolution already put into action."[4] Thanks to the great popularity of its predecessor The Marriage of Figaro opened to enormous success; it was said to have grossed 100,000 francs in the first twenty showings,[5] and the theatre was so packed that three people were reportedly crushed to death in the opening-night crowd.[6] 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.

Summary [edit]
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.

Production history

Count Almaviva, Governor of Andalusia Countess Rosine, his wife Figaro, the Count's valet and major-domo; engaged to Suzanne Suzanne, the Countess' maid; engaged to Figaro Marceline, the housekeeper; in love with Figaro, unknowingly Figaro's mother Antonio, gardener of the castle; uncle of Suzanne, father of Fanchette Fanchette, daughter of Antonio, girlfriend to many Chrubin, the Count's page, the Countess' godson; in love with every woman Bartholo, a doctor from Seville; unknowingly Figaro's father Bazile, music master to the Countess Don Guzman Brid'oison, a judge. Doublemain, clerk to Don Guzman Brid'oison Gripe-Soleil, a shepherd lad Pedrillo, the Count's huntsman An usher A shepherdess An alguazil A magistrate Servants, valets, peasants, and huntsmen

The Barber of Seville (play)

From Wikipedia, the free encyclopedia

A scene from a 19th century version of The Barber of Seville. Its origins in thecommedia dell'arte are shown in this picture which portrays Figaro dressed in the costume and mask of Harlequin.

The Barber of Seville or the Useless Precaution[1] (French: Le Barbier de Sville ou la Prcaution inutile) is a French play by Pierre Beaumarchais, with original music by Antoine-Laurent Baudron. It was initially conceived as a comic opera, and was rejected as such in 1772 by the Comdie-Italienne. The play as it is now known was written in 1773, but, due to legal and political problems of the author, it was not performed until February 23, 1775, at the Comdie-Franaise in the Tuileries. It is the first play in a trilogy of which the other constituents are The Marriage of Figaro, and The Guilty Mother.

Though the play was poorly received at first, Beaumarchais worked some fast editing of the script, turning it into a roaring success after three days. The play's title might be a pun on Tirso de Molina's earlier play El Burlador de Sevilla (The Trickster of Seville). Mozart wrote a set of variations on one of its songs, "Je suis Lindor".

Summary [edit]
The story follows a traditional Commedia dell'arte structure, with many characters seemingly based on famous stock characters. The plot involves a Spanish count, called simply The Count although "Almaviva" appears as an additional name (whether it's a given name or a surname is not clear), who has fallen in love at first sight with a girl called Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student named Lindor, and attempts to woo her. His plans are foiled by Rosine's guardian Doctor Bartholo, who keeps her locked up in his house and intends to marry her himself. The Count's luck changes, however, after a chance reunion with an ex-servant of his, Figaro, who is currently working as a barber and therefore has access to the Doctor's home. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk, first as Lindor, then as Alonzo, a fellow student of the same music master, Bazile. The story culminates in the marriage of the Count and Rosine. Count Almaviva, a Spanish grandee who is in love with Rosine Figaro, barber of Seville Rosine, Don Bartholo's ward Don Bartholo, a doctor and Rosine's guardian Don Bazile, an organist who is Rosine's singing teacher La Jeunesse (Youth), Bartholo's elderly servant L'veill (Livelihood), another servant of Bartholo who is very lazy A Notary An Alcade

The character of Figaro [edit]

Figaro is inspired by the Commedia dell'arte character of Brighella, and like his predecessor he is a clever liar; moral and yet unscrupulous; good humored, helpful and brave, though somewhat embittered and cynical. As he says inThe Barber of Seville: "I must force myself to laugh at everything lest I be [5] obliged to weep." Though he is normally calm, collected and intelligent, he can be irrational when angered. The name 'Figaro' was invented by Beaumarchais for this character, and it has been theorized by Frdric Grendel that it is made from a phonetic transcription of the words "fils Caron" (Caron having been the given surname of the playwright.) The role was created in The Barber of Seville by Beaumarchais's friend Prville. However, when The Marriage of Figaro went into production almost a decade later, he felt himself too old to repeat the part [6] and turned it over to fellow actor Jean Dazincourt.
[4]

According to the information Figaro gives at various points throughout the plays, his life story appears to be thus: he was the illegitimate son of Dr. Bartholo and his maid Marceline, and presumably therefore given his mother's family name, was born Emmanuel de Verte-Allure (he is referred as "Rafaello" by Lorenzo da Ponte in his libretto for Mozarts Le Nozze di Figaro). He was kidnapped as a baby and raised by gypsies, who are probably the ones that renamed him Figaro. After he grew "disgusted with their ways" he left to become a surgeon, and apparently took up a short-term job in the household of Count Almaviva during this time to support himself (Lorenzo da Ponte in " Le nozze di Figaro" might have elaborated from this that at some point Figaro borrowed money from Marceline and signed a promissory note to either repay or marry her). Though the Count referred to him as a "rather bad servant," he was pleased enough with Figaro to write him a recommendation to the Bureau in Madrid, where he was given a job as an assistant veterinary surgeon, much to his disappointment. While working there, he began dabbling in a literary career, apparently with great success. He was fired from the Bureau but stayed on in Madrid for a time trying to work as a publisher and playwright. He angered the censors with several of his works, and was briefly imprisoned. Eventually he gave up writing, and set himself up as a barber surgeon. After "pensively proceeding through the two Castilles, la Mancha, Extremadura, the Sierra Morena, and Andalusia" he set up shop in Seville, where he became reacquainted with Count Almaviva, and after assisting him with some romantic troubles, was hired as the Count's personal valet. He evidently retains this position for the remainder of his life. It is after he returns to work for the Count that he marries Suzanne, though at what point he met her is unclear. Given that Suzanne's uncle Antonio works for the Count, it seems likely she was hired on his recommendation when the Countess moved into the palace and a maid was needed for her, in which case she and Figaro would have met after the events of The Barber of Seville. William M. Hoffman, in his own version of the Figaro myth in John Coriglianos The Ghosts of Versailles (which borrows from La mre coupable), has him taking part in the French Revolution, refusing to help Almaviva's plan to free the Queen from her impending fate at the guillotine. In The Barber of Seville, Rosine claims that Figaro has a daughter, but since this is never mentioned again by any other characters or in the other plays, and since it comes up during a lie Rosine tells to conceal her relationship with the Count, it is probable that she made this up. In The Guilty Mother, the children of the Count and Countess are named, but no offspring from Figaro or Suzanne are referenced which suggests they remain childless. William M. Hoffman, inThe Ghosts of Versailles has Figaro refusing to recognize an illegitimate child.

Home > The Barber of Seville

Rossini, G. (1792-1868)

A Summary of The Barber of Seville

Act 1 In the 18th century, at the house of a doctor, Bartolo, keeps his nephew, Rosina, confined in his house. He is her guardian. Rosina inherited a great deal of money from her parents. Bartolo attempts to get both the beautiful girl and extensive inheritance by getting her to marry him. Count Almaviva, an aristocrat in Spain, falls in love with Rosina. Almaviva calls himself Lindoro, a poor student, to conceal his high status, and he serenades her. But he cant meet her for Bartolos stringent control. Count Almaviva asks Figaro, a barber in Siviglia, to help with the success of his love. Figaro as the barber enters Bartolos house, and he suggests to Almaviva to disguise himself as a drunken soldier billeted to Bartolos house. But Bartolo is skeptical about Almaviva disguised as a soldier. This plan doesnt go well. Act 2 The following plan becomes successful. Almaviva disguises himself as a pupil of a music teacher, Basilio. Basilio is Bartolos right hand man. Almaviva can enter Bartolos house, and during a music lesson is able to make promise with Rosina to run away and marry. Then, Figaro steals the key of the balcony window while he shaves Bartolo. After Almaviva and Figaro leave Bartolos house, Bartolo tells Rosina that Lindoro attempts to sell her to Count Almaviva. Rosina gets angry, and says she will marry Bartolo or any man. Bartolo is pleased, and calls a public notary over. That same night, Almaviva and Figaro steal into Bartolos house through the balcony window. At first Rosina rebuffs Lindoro, but when Almaviva explains that Lindoro and Almaviva are one and the same person, her confusion is cleared up. At that moment, the notary arrives, so Almaviva marrys Rosina in the room. Bartolo enters the room, but it is too late now. Almaviva tells Bartolo to take Rosinas extensive inheritance for himself. So Bartolo is satisfied with the outcome, too.

A Comment of The Barber of Seville

Many operas around the world cover on the subjects of love, sorrow, and death, that is to say, they are tragic dramas. If you are not good at such negative stories, I recommend you see this opera-The Barber of Seville. Im sure we will burst into laughter many times, because there are some comical points in this opera. You should especially pay attention to the dialogue between Bartolo and Almaviva. Almaviva disguises himself as Bartolos right hand man in Act 2. The audience frequently burst into laughter. Gioachino Rossini who composed this opera is a musical genius. The overture of this opera is very famous. And Rossinis melodies are bright and smooth, so the operas story flows freely. Do you know the Rossini Crescendo? This is Rossinis unique method of composition to increase sound volume gradually in steps. The Rossini Crescendo probably excites both orchestra and audience at the same time. Do you suspect that Figaro, the barber in Siviglia, is the Figaro in Mozarts opera The Marriage of Figaro? Well, you are right! Actually, The Marriage of Figaro is a sequel to The Barber of Seville. You should see both operas. You would enjoy opera twice over.

A Summary of The Marriage of Figaro

Act 1 In the 18th century, in Spain, this story takes place on the wedding day of Figaro and Susanna, Count Almavivas servants. Figaro is surprised to hear Susannas confession: she is being pursued by the Count. Figaro gets angry, and vows to foil the Counts intentions. Act 2 Figaro plans his strategy. It is that Susanna will write to the Count agreeing to a rendevous, but they will send the adolescent page, Cherubino, dressed in womens clothes. Figaro and Susanna get the Countesss consent. When they are disguising Cherubino, the Count unexpectedly arrives. Unfortunately, Figaros plan failed. Additionally, Marcellina, an elderly woman, appears there with her lawyer, Bartolo. They remind Figaro of the promise he made to marry Marcellina if he failed to pay back the loan she made to him. Figaro and Susannas plans to marry seem to be lost. Act 3 But a big new truth is revealed. That truth is that Figaro who was an abandoned baby, is the long-lost son of Bartolo and Marcellina. Figaro and his parents embraced each other. Then, Susanna joins them. Figaro and Susannas plans to marry go ahead without interruption. Further Bartolo and Marcellina

also marry, resulting in a double wedding. By the way, the Count... he continues to try seducing Susanna. The Countess is amazed at his foolishness. She decided that she would disguise herself as Susanna to meet him in the garden that night. Act 4 That same night, the Count goes to meet Susanna in the garden of his mansion. He makes a move on his wife who is dressed in Susannas clothes. The Countess can get evidence of his affair. Then, she reveals herself to him. The Count realizes that his lover is his wife, and is very surprised. However, the Countess forgives her husband who regrets what he had done.

A Comment of The Marriage of Figaro

This opera, The Marriage of Figaro, is frequently performed in Japan. This opera has a very complicated story, so it may be difficult for you to understand all of this opera. But, you will find many parts that will make you laugh whenever you watch this opera. What I wrote in the summary above is only one part of the whole story. If you understand the feeling of the various characters in this opera, you can find different points of view through each of them. You can watch this opera many times without being bored. This opera was composed by W. A. Mozart. It is filled with charms of Mozarts music, for example, the famous overture, Figaros aria No more gallivanting, Cherubinos aria You ladies who know what love is, and other pieces. Almost all of them are rhythmical music, so the music can relieve the stresses of daily life. The most important scene is the finale of Act 2. This finale is a very large scale, and a lot of people continuously come on the stage. The music gradually speeds up, and changes key many times. You will be overcome by Mozarts music. There is a special character in this opera, the adolescent page, Cherubino. He is a boy who aged about fifteen. But, Cherubino is played by a female singer, Mezzo Soprano. In addition, Cherubino dresses in womens clothes in Act 2. It seems the audience and singer do not understand whether he is a man or woman.

Figaro

Introduction Related Contributors & Bibliography

Figaro, comic character, a barber turned valet, who is the hero of Le Barbier de Sville (1775; The Barber of Seville) and Le Mariage de Figaro (1784; The Marriage of Figaro), two popular comedies of intrigue by the French dramatist Pierre-Augustin Caron de Beaumarchais. They are now best known in their operatic versions by Gioachino Rossini (1816) and Wolfgang Amadeus Mozart (1786), respectively. In the earlier play Figaro, in the role of barber, is instrumental in the successful wooing of Rosine by Count Almaviva. In the later play Figaro attempts to keep his future wife from the clutches of his master, Almaviva, who wants to seduce her. Because they portray the abuse of power by aristocrats and related themes, both plays were censored; as a result, the character of Figaroadroit, irrepressible, insubordinatehas accrued much symbolic value over the centuries. His name was adopted by a leading French newspaper, Le Figaro.

AUDIO

18th century
From Wikipedia, the free encyclopedia

Not to be confused with The Eighteenth Century (journal).

Millennium:

2nd millennium

Centuries:

17th century

18th century

19th century

Decades:

1700s 1710s 1720s 1730s 1740s 1750s 1760s 1770s 1780s 1790s

Categories:

Births Deaths Establishments Disestablishments

Washington crossing the Delaware, Dec. 25 1776, an iconic event of the American Revolution

Storming of the Bastille, July 14, 1789, an iconic event of the French Revolution

1700 CE world map

The 18th century lasted from January 1, 1701 to December 31, 1800 in the Gregorian calendar. During the 18th century, the Enlightenment culminated in the French and American revolutions. Philosophy and science increased in prominence. Philosophers dreamed of a brighter age. This dream turned into a reality with the French Revolution, although it was later compromised by excess of the terror of Maximilien Robespierre. At first, the monarchies of Europeembraced Enlightenment ideals, but with the French Revolution they feared losing their power and joined wide coalitions with the counter-revolution. The Ottoman Empire was undergoing a protracted decline, as it failed to keep up with the technological advances in Europe. The Tulip period symbolized a period of peace and reorientation towards European society, after victory against a burgeoning Russian Empire in the Pruth River Campaign. Throughout the century various reforms were introduced with limited success.

The 18th century also marked the end of the PolishLithuanian Commonwealth as an independent state. The once powerful and vast kingdom, that was once able to conquer Moscow and defeat the great Ottoman armies, collapsed under numerous invasions. Its semi-democratic government system was not efficient enough to rival the neighbouring monarchies of Prussia, Russiaand Austria who divided the Commonwealth territories among them, changing the landscape of Central European politics for the next hundred years. Great Britain became a major power worldwide with the defeat of France in the Americas, in the 1760s and the conquest of large parts of India. However, Britain lost much of its North American colonies after the American Revolution, which was actively helped by the French. The industrial revolution started in Britain around 1770s with the production of the improved steam engine. Despite its modest beginnings in the 18th century, it would radically change human society and the environment. Western historians have occasionally defined the 18th century otherwise for the purposes of their work. For example, the "short" 18th century may be defined as 17151789, denoting the period of time between the death of Louis XIV of France and the start of the French Revolution with an emphasis on directly interconnected events.[1][2] To historians who expand the century to include larger historical movements, the "long" 18th century[3] may run from the Glorious Revolution of 1688 to the battle of Waterloo in 1815[4] or even later.[5]