History Theatre / TheMarriageOfFigaro

* ChekhovsGun: In their first scene in the play, Marceline and Bartholo [[AsYouKnow mention]] that they had an affair after the events of ''The Barber of Seville'' which led to the out-of-wedlock birth of a son they gave up. The opera omits this scene and lets the ContrivedCoincidence stand on its own.

%% * GettingCrapPastThe Radar: Due to overwhelming and persistent misuse, GCPTR is on-page examples only until 01 June 2021. If you are reading this in the future, please check the trope page to make sure your example fits the current definition.

* EnsembleCast: Despite Figaro getting the title role, there are no less than eleven named characters, all of whom have important dramatic parts.[[note]]All of the characters have at least one solo aria except Antonio and Don Curzio, since these were originally played by the same singers who played Bartolo and Basilio, respectively.[[/note]] This makes it a popular choice to produce at music conservatories, as multiple singers get a chance to shine.

* EnsembleCast: Despite Figaro getting the title role, there are no less than eleven named characters, all of whom have important dramatic parts.[[note]]All of them have at least one aria except Antonio and Don Curzio, who were both originally doubled by singers who got their aria in a different role.[[/note]] This makes it a popular choice to produce at music conservatories, as multiple singers get a chance to shine.

* EnsembleCast: Despite Figaro getting the title role, there are no less than eleven named characters, all of whom have important dramatic parts. This makes it a popular choice to produce at music conservatories, as multiple singers get a chance to shine.

* ChekhovsGun: In their first scene in the play, Marcelline and Bartholo [[AsYouKnow mention]] that they had an affair after the events of ''The Barber of Seville'' which led to the out-of-wedlock birth of a son they gave up. The opera omits this scene and lets the ContrivedCoincidence stand on its own.

* AnythingThatMoves: Cherubino, being in the midst of puberty, by his own admission falls in love with any woman who happens to be nearby.
--> "Every woman changes my temperature, every woman makes my heart beat faster."

* RatedMForManly: "Non piu andrai" is about Cherubino leaving behind TheDandy lifestyle for the army, where [[ManlyFacialHair badass mustaches]], glory, nice hats and explosions are the norm.

* ADateWithRosiePalms: Cherubino tells us that "If nobody's listening, I speak of love with myself".

* ArmorPiercingSlap: Susanna. Figaro doesn't regret [[IncrediblyLamePun asking her for her hand]], though.

A comic, SitCom-like play by Pierre Beaumarchais ("Le Mariage de Figaro" in the original French), adapted into an {{opera}} by composer Music/WolfgangAmadeusMozart and librettist Lorenzo Da Ponte ("Le Nozze di Figaro" in the original Italian). The story is about the attempts of Figaro (Count Almaviva's manservant and formerly ''Theatre/TheBarberOfSeville'') and Susanna (the Countess's maid) to get married. It being a RomanticComedy, there are many obstacles:

The opera is based on a play by Pierre Caron de Beaumarchais, a sequel to his ''The Barber of Seville'', which tells how Figaro entered the Count's employ after helping overcome the difficulties surrounding the Count's own attempt to MarryForLove. ''The Barber of Seville'' was also adapted into opera several times, most notably 30 years ''after'' ''The Marriage of Figaro'', by a different composer (Rossini) and a different lyricist. Essentially it is a ContinuationFic in the other chronological direction. As mentioned on the ''Barber'' page, there is a third play in the series, but nobody cares about it anymore.

* Count Almaviva wants to seduce his wife's maid, Susanna, much to the dismay of both Susanna (who is happily engaged to Figaro) and his wife, Countess Rosina. To achieve this, he is threatening to reinstate the feudal "DroitDuSeigneur" custom, which gives the local lord first dibs with a woman on her wedding night. Rosina and Susanna, who are close friends, conspire to expose his lechery.

* Count Almaviva wants to seduce Susanna, much to the dismay of his wife, Countess Rosina. To achieve this, he is threatening to reinstate the feudal "DroitDuSeigneur" custom, which gives the local lord first dibs with a woman on her wedding night. Rosina and Susanna, who are close friends, conspire to expose his lechery.

* Cherubino, a teenaged page boy (always played by a girl), is also trying to get his hands on Susanna, on his godmother the Countess, on the gardener's daughter Barbarina, and basically on any other female within a 500-yard radius. Ah, young hormones. Suzanna and Rosina try to weaponize him by... dressing him up as a girl. This is mostly PlayedForLaughs, but the Count is dangerously territorial, so it can go MoodWhiplash at times.

* ShotgunWedding: A very belated version in the play: once Bartholo and Marcelline are revealed to be Figaro's parents, his fiancée's guardian [[ParentalMarriageVeto refuses to consent]] to her marrying a bastard, and his parents are talked into marrying to allow the wedding to go forward.

* RatedMForManly: "Non piu andrai" is about Cherubino leaving behind TheDandy lifestyle for the army, where [[BadassMustache badass mustaches]], glory, nice hats and explosions are the norm.

* EasilyForgiven: At the end, the Countess forgives her husband for trying to blackmail a young woman into having an affair with him.

* NobodyHereButUsStatues: In a television adaptation, Figaro imitates a nearby statue of Cupid when he is stalking Susanna in the final act.

* TalkingApplianceSidekick: In a 1993 TV adaptation of the opera, we saw the Count having a (non-sung) conversation with himself, using his dictaphone:
--> '''Dictaphone''' (in the Count's voice): An anonymous letter. Rosina, guilty as hell about something; Susanna, locked in the bathroom. A man jumps out of the window, who turns out to be Figaro.
--> '''Count''': Well, so he says.
--> '''Dictaphone''': That's right.
--> '''Count''': It just doesn't make any sense! Rosina must have thought the whole thing up. I can't believe she'd do that: besides, she has far too much respect for me.
--> '''Dictaphone''': Figaro hasn't, though.
--> '''Count''': You're right.

* AdaptationNameChange: The opera Italianizes most of the names (Suzanne becoming Susanna, for example) and renames a couple of minor characters, with Don Guzman becoming Don Curzio and Fanchette becoming Barbarina.

* SpeechImpediment: In the original Beaumarchais play, the judge Don Guzman has a pronounced stutter. His counterpart in the opera, Don Curzio, is traditionally played this way too; Michael Kelly, who created the part, recalled that Mozart told him not to stutter during the big Act 3 sextet, but relented after Kelly managed to stutter while staying on the beat.

* IncrediblyShortTimespan: The events of the opera take place in a single day.