Scan 91
STOKES ENCYCLOPEDIA OF MUSIC AND MUSICIANS VOLUME II, 1908
8 lines. Read by computer on 16 September 2026. No printed page number was found. See the scan on archive.org.
1NOZZE DI FIGARO
2attentions. They are completely successful in this, but the Count is none the less determined to exercise his seigneurial rights over Susanna, and Figaro is equally determined to keep Susanna for himself. Meantime matters are complicated by Bartolo, who has been rejected by Susanna, and Marcellina, who holds a written promise of marriage from Figaro. They unite to prevent the happiness of their faithless loves. The Count is delighted at having an excuse for forcing Figaro to marry any one other than Susanna, but Figaro proves that he is really the son of Bartolo and Marcellina, and has a happy reunion with his long lost parents. The Count tries to rid himself of Cherubino by giving him a captain's commission and sending him to the wars. The Countess and Susanna disguise the page in women's clothes, but, although the Count recognizes him, he has received a note from Susanna appointing a meeting, and does nothing to prevent the long delayed marriage ceremony at which Figaro and Susanna and Bartolo and Marcellina are united. The final act represents a garden at night. Susanna and the Countess have exchanged clothing. The Count mistakes his wife for Susanna; the page, who has tried to flirt with the Countess, whom he believes to be Susanna, consoles himself with Barberina, and Figaro, mad with rage, is delighted when he finds that the supposed Countess is really his Susanna. Finding Figaro with the woman he assumes to be his wife, the Count calls for lights, the women unveil, the Count humbly supplicates pardon for his conduct, the Countess graciously consents to be reconciled to her husband, and, of course, Figaro and Susanna are left to their happiness. The music reveals Mozart at his best, and in writing of the first performance, Kelly records: "Never was there a greater triumph." The original cast included: Almaviva, Mandini, bar.; Figaro, Benucci, bass; Basilio and Don Curzio, Occheley (Michael Kelly), ten.; Cherubino, Mandini, sop.; the Countess, Storace, sop.; Susanna, Laschi, sop.; Marcellina, Bussani, mez. sop.; Barberina, Gottlieb, sop. The chief numbers are: Act I: "Se vuol ballare, Signor Contino," Figaro; "La Vendetta," Bartolo; "Non so più cosa son," Cherubino; "Cosa sento? tosto andate," Almaviva, Basilio, Susanna; "Non più andrai," Figaro; Act II: "Porgi amor," the Countess; "Voi che sapete," Cherubino; "Venite inginocchiatevi," Susanna; Act III: "Crudel! perche finora," Almaviva and the Countess; "Riconosci in questo amplesso," sextet; "Dove sono," the Countess; Canzonetta "Sull' aria" (Zephyr duet), the Countess and Susanna; "In quegl' anni," Basilio; "Ecco la marcia," Figaro; Act IV: "Deh, vieni, non tardar," Susanna.
3Nuances. Fr. "Shades" of expression in music.
4Number. Integral portion of a musical composition.
5Numerus. L. Number, rhythm.
6Nunc Dimittis. The canticle of Simeon, Luke ii, 29-32, is sung in the Anglican Evening Service alternately with the Deus Misereatur. In the Latin ritual it is sung at Compline.
7Nuno (Jaime) composed the MEXICAN NATIONAL HYMN; taught music in Buffalo, N. Y., 52 years. Born and educated in Spain, Nuno was sent to Cuba as bandmaster for the military bands in the island, and he met General Santa Ana, 1851, by whose invitation he later went to Mexico City when Santa Ana became President. He was driven from Mexico by a revolution, settled in Buffalo, where he soon obtained a number of pupils. In 1864 he again visited Mexico, but political conditions prevented him from being well received. In 1901 Capt. Hernandez, military attaché of President Diaz, visited Buffalo on business connected with the Pan-American Exposition, met Nuno, and on his return to Mexico, began an agitation for the composer's recognition. The newspaper "El Plis" lent its aid, and in September, 1901, the veteran musician made a triumphal tour of Mexico, was received with national salutes, heard
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