Antonio then produces a
paper which he found dropped among the flowers. This proves to be
Cherubino's commission. Once more the secret is nearly out, but Figaro
saves the situation by declaring that the page gave it to him to get the
seal affixed. The Countess and Susanna are beginning to congratulate
themselves on their escape, when another diversion is created by the
entrance of Marcellina, the Countess's old duenna, and Bartolo, her
ex-guardian. Marcellina has received a promise in writing from Figaro
that he will marry her if he fails to pay a sum of money which he owes
her by a certain date, and she comes to claim her bridegroom. The Count
is delighted at this new development, and promises Marcellina that she
shall get her rights.
The second act (according to the original arrangement) is mainly devoted
to clearing up the various difficulties. Figaro turns out to be the
long-lost son of Marcellina and Bartolo, so the great impediment to his
marriage is effectually removed, and by the happy plan of a disguise the
Countess takes Susanna's place at the assignation, and receives the
ardent declarations of her husband. When the Count discovers his mistake
he is thoroughly ashamed of himself, and his vows of amendment bring the
piece to a happy conclusion.
It seems hardly possible to write critically of the music of 'Le Nozze
di Figaro,' Mozart had in a superabundant degree that power which is
characteristic of our greatest novelists, of infusing the breath of life
into his characters.
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