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The Barber of Seville and The Marriage of…
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The Barber of Seville and The Marriage of Figaro (Penguin Classics) (udgave 1964)

af Pierre de Beaumarchais (Forfatter), John Wood (Forfatter)

Serier: Figaro Trilogy (1-2)

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
573341,879 (3.52)23
A French courtier, secret agent, libertine and adventurer, Beaumarchais (1732-99) was also author of two sparkling plays about the scoundrelly valet Figaro - triumphant successes that were used as the basis of operas by Mozart and Rossini. A highly engaging comedy of intrigue, The Barber of Seville portrays the resourceful Figaro foiling a jealous old man's attempts to keep his beautiful ward from her lover. And The Marriage of Figaro - condemned by Louis XVI for its daring satire of nobility and privilege - depicts a master and servant set in opposition by their desire for the same woman. With characteristic lightness of touch, Beaumarchais created an audacious farce of disguise and mistaken identity that balances wit, frivolity and seriousness in equal measure.… (mere)
Medlem:CottonwoodTheatre
Titel:The Barber of Seville and The Marriage of Figaro (Penguin Classics)
Forfattere:Pierre de Beaumarchais (Forfatter)
Andre forfattere:John Wood (Forfatter)
Info:Penguin Classics (1964), Edition: 16th Printing, 223 pages
Samlinger:Dit bibliotek
Vurdering:
Nøgleord:Ingen

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The Barber of Seville and The Marriage of Figaro af Pierre de Beaumarchais

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Interesting. The source from which the operas were based. A must for opera fans. I'm one. ( )
  JVioland | Jul 14, 2014 |
It is noted in the book that these plays are noteworthy because of their fame as operas. And in fact, I couldn't keep a couple of things out of mind - someone singing, "I am the barber of Seville", and someone else singing, "Figaro, Figaro, Figaro". The two stories feature Figaro, the Barber of Seville, who in the first play helps a count marry Rosine, and in the second play, Figaro now works for the count and is planning on getting married. The plays were amusing, full of intrigue with characters crossing, double-crossing and triple-crossing each other. Well done! ( )
1 stem LisaMorr | Jan 12, 2013 |
Whilst it is fascinating to read 'the Barber' and 'Marriage' in their original theatrical form, I suspect that Beaumarchais owes a debt of gratitude to Rossini and, particularly, to Mozart for his continued fame.
Beaumarchais may, as this book suggests, have had a significant effect upon eighteenth century theatre but I remain unconvinced that modern bottoms would endure these over long and over staged plays. Non the less, we must be grateful that the story of Figaro was available to Mozart. ( )
  the.ken.petersen | Sep 15, 2008 |
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Forfatter navnRolleHvilken slags forfatterVærk?Status
Pierre de Beaumarchaisprimær forfatteralle udgaverberegnet
Wood, JohnOversættermedforfatternogle udgaverbekræftet
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As it is less by my achievement than by my endeavours that I should be judged I still dare to hope for the noble reward I promised myself - the esteem of three great nations, France, America, and even England.
Caron de Beaumarchais
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Beaumarchais is now remembered for his two great comedies and for them, in the English-speaking world at least, because they have won a second and more resounding fame as operas. (Introduction)
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Rosine: You shan't see it.  If you come near me I'll run out of the house and throw myself on the mercy of the first person I shall see.Bartholo: A lot of notice he'd take of you.Rosine: That we shall see.
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A French courtier, secret agent, libertine and adventurer, Beaumarchais (1732-99) was also author of two sparkling plays about the scoundrelly valet Figaro - triumphant successes that were used as the basis of operas by Mozart and Rossini. A highly engaging comedy of intrigue, The Barber of Seville portrays the resourceful Figaro foiling a jealous old man's attempts to keep his beautiful ward from her lover. And The Marriage of Figaro - condemned by Louis XVI for its daring satire of nobility and privilege - depicts a master and servant set in opposition by their desire for the same woman. With characteristic lightness of touch, Beaumarchais created an audacious farce of disguise and mistaken identity that balances wit, frivolity and seriousness in equal measure.

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