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
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“There are neither good nor bad subjects. From the point of view of pure Art, you could almost establish it as an axiom that the subject is irrelevant, style itself being an absolute manner of seeing things.”
—Gustave Flaubert (1821–1880)