It’s the opposite of showing off, despite the small cadenza Susanna sings on the last “incoronar”. The two phrases on “ti vo’ la fronte incoronar” are totally regal and womanly even the brief moment of coloratura is controlled and thought out.įinally, the end of this aria is like a very expensive gift, wrapped in an expensive bow. For the Countess, those long notes meant yearning and wishing for Susanna, they’re lures for her lover. These long “vieni’s” (below) are similar to the Countess’ “Porgi, amor”, and the dramatic difference between the two arias is rich with meaning. The passing F-sharp in “Vieni ove amore” is just the kind of subtle sexuality that the Countess would infuse in her words it’s almost as though Susanna is playing dress-up, recalling the few moments of flirtation she heard from the Countess and trying them on herself. There’s a simple dance rhythm inherent in the 6⁄ 8 meter, but it’s controlled, not improvisatory or perky. She even uses some lower, Countess-inspired notes to get the infusion of lust into this recit words like “foco” and “notte” couldn’t be sexier: !()Īgain, Susanna sings a rich woman’s aria in a poor woman’s key. Yet the accompagnato form makes Susanna speak a little slower than the rapid patter she’s had for much of the opera she delivers organized, calm thoughts in a collected way. The key belies Susanna’s station a little bit keys like C, G, and F major are popular picks for Mozart’s soubrettes (think Despina and Zerlina, compared to Fiordiligi and Donna Anna). There’s Classical grace in this opening, very round, very symmetrical. For instance, she gets an extended accompagnato recit, a device largely reserved for noble characters instead of maids: That latter part informs the music, which looks and sounds much more Countess-like than like Susanna. So, this aria is all at once a) a lie, b) a true seduction of Figaro, and c) Susanna in disguise. This aria is a layers-thick trick, which Susanna sings to Figaro, making him think she’s singing to the Count (and enjoying it). To complicate things further, Figaro has heard about Susanna’s plans, and Susanna has heard that Figaro has heard. Yet, Susanna has planned this tryst with the Countess they are disguised as each other, hoping to trap the Count in his dirty ways.
At its simplest, it’s a seductive call into the dark for her lover. Susanna’s aria from the final act of Le nozze di Figaro is constantly fascinating. Tales from the score: Deh vieni, non tardar How-to Jenna Simeonov Jul 19, 2016
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