Johns Observations

Without a doubt, one of W.A Mozart’s greatest works is his comic opera, Le Nozze de Figaro. Figaro boasts some of the greatest music ever written. With several highlights including Non piu Andrai, the Act II Finale, and Cherubino and the Countess’ moments, one overlooked moment is the Act III aria sung by the count….Hai gia vinta la causa.

This aria is a showstopper within itself. The opera is very simple…Figaro and Susanna, who are both servants…are set to be married…However, the Count, who is a member of the upper-class, intends to have a romantic encounter with Susanna before she is wed to his servant Figaro. Through some schemish plotting and double crossing, the Count is set up by Susanna, Figaro, and the Countess……….. In this aria….He overhears Susanna bragging to Figaro that they have won…and that the Count has been duped………. In the aria, the Count reassures himself that he is in charge and that no one can get the best of him.

For the lyric baritone…. the Counts Aria is one of the first major pieces in his rep. It demands both a commanding presence, and a connected, substantial sound. At times, the orchesta sustains quite a large texture, demanding the singer to produce a tone that can carry. The aria is fairly lengthy, and has several key components. The recitative is a standard classical Italian operatic recitative…. Once the aria proper begins, the vocal line is very connective, yet authoritative at the same time. The aria concludes with a string of melismatic passages, and a daunting F# to test the singers stamina. This aria will prove a singers technique either strong or weak, depending on the F#.

I hope you enjoy this aria…….. Many baritones tend to gravitate toward the character whom the opera is named after….Figaro…However, the Count is so much more complex and sensitive a character…. I am personally drawn to the Count… I hope you enjoy Rodney Gilfry and his interpretation of Hai Gia Vinta la Causa!

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