Mozart’s opera The Marriage of Figaro is often regarded as the perfect comedic opera, masterfully combining virtuosic music with an outrageously tangled plot. The story follows Figaro and Susanna—two household staff of the estate of the Count and Countess Almaviva—on their wedding day. Several things get in their way on their path to the altar and the plot unfolds into a tangled web of schemes, miscommunication, and flirtation. Whether you’re a Figaro expert or it’s your first time at the opera, check out these musical highlights to get ready for the show.
The Marriage of Figaro Overture
The overture from The Marriage of Figaro; New York Philharmonic, conducted by Leonard Bernstein
You’ve probably heard this music before! Appearing in things like The King’s Speech, Zombieland, and Willy Wonka and the Chocolate Factory, the overture from The Marriage of Figaro has worked its way into the pop culture canon. The excited, buzzing overture energetically sets the stage for the comedy of errors that will unfold.
Act I
Act I begins a Figaro and Susanna, servants of the Count and Countess Almaviva, prepare for their wedding. The Count has been attempting to seduce Susanna, believing he has a legal right to do so on her wedding night because of a medieval custom called “droit du seigneur” (“right of the lord”). We also meet Don Basilio and Marcellina, who have schemes and vendettas against the couple, and the girl-crazy Cherubino, who is having issues with the Count.
“Se vuol ballare, signor contino” (“If you want to dance, Count”): Figaro’s First Act I Aria
“Se vuol ballare, signor Contino,” from The Marriage of Figaro; baritone Luca Pisaroni as Figaro
After discussing the Count’s plan to seduce Susanna, Figaro resolves to outsmart the Count so it won’t happen.
“Non so pù cosa son, cosa faccio” (“I don’t know anymore what I am, what I’m doing”): Cherubino’s Act I Aria
“Non so più cosa son, cosa faccio,” from The Marriage of Figaro; mezzo-soprano Frederica von Stade as Cherubino. This character is an example of a “pants role,” where a male character is sung by a mezzo-soprano.
The Count’s pageboy Cherubino has come to ask Susanna for help with the Count, as he plans to punish Cherubino for his flirtatious ways after finding him alone with the gardener’s daughter. In this aria, he breathlessly explains himself, telling Susanna of his love for all the women in the house, especially the countess.
“Non più andrai” (“No longer will you go”): Figaro’s Second Act I Aria
“Non più andrai,” from The Marriage of Figaro; baritone Erwin Schrott as Figaro
After the count finds Cherubino hiding in Susanna’s quarters, having overheard the Count’s advances on Susanna, he orders Cherubino to go enlist in the army to keep him from telling the Countess. In this aria, Figaro teases Cherubino about how his days of flirting are over.
Act II
During Act II, schemes begin to take shape as the Countess and Susanna work together on a scheme to trick the count so the Countess can catch him being unfaithful and to stop him from disturbing Susanna on her wedding night.
“Porgi, Amor” (“Offer, Love”): The Countess’s Act II Aria
“Porgi, Amor,” from The Marriage of Figaro; soprano Golda Schultz as the Countess
We first meet the Countess Rosina Almaviva alone in her bedroom as she mourns her relationship and the loss of love in her marriage.
“Voi che sapete” (“You who know”): Cherubino’s Act I Aria
“Voi che sapete,” from The Marriage of Figaro, Miriam Albano as Cherubino
As Susanna and the Countess plot to catch the Count cheating, they enlist help from Cherubino (who has not left for the military like he was ordered to do). In an effort to distract him and get him to agree to be a part of their plot, Susanna encourages him to perform the song he’d written for the countess.
Act III
In Act III, things begin to unravel, but Susanna and the Countess continue their conspiring. At the end of the day, the wedding finally commences, and Susanna takes the next step in their scheme to catch the Count by inviting him to a tryst that evening.
“‘Hai già vinta la causa!’ … Vedrò mentr’io sospiro” (“‘We’ve won our case!’ … Shall I see while I breathe”): The Count’s Act III Recitative & Aria
“‘Hai già vinta la causa!’…Vedrò mentr’io sospiro,” from The Marriage of Figaro; tenor Thomas Allen as Count Almaviva. This aria begins with a recitativo accompagnato (“accompanied recitative,” or sung dialogue with full accompaniment and stricter meter).
After overhearing Figaro and Susanna talking about the scheme against him, the count is enraged and comes up with a plan of his own to stop Figaro and Susanna’s wedding.
“Dove sono i bei momenti” (“Where are the happy moments”): The Countess’s Act III Aria
“Dove sono i bei momenti,” from The Marriage of Figaro; Kirsten MacKinnon as the Countess
In a moment of quiet while the plans unfold, the Countess remembers the moments of happiness she had with the count, hoping that her persistence will make his love for her return.
“Sull’aria … che soave zeffiretto” (“On the breeze … what a gentile little zephyr”): The Countess and Susanna’s Act II Duet
“Sull’aria,” from The Marriage of Figaro; Rachel Willis-Sørensen as the Countess and Christiane Karg as Susanna
The countess and Susanna continue with their plot as they prepare the invitation that will be delivered to the count, inviting him to rendezvous with Susanna (who will end up being the Countess, disguised as Susanna) in an effort to expose his infidelity.
Act IV
Everything comes to a head in Act IV, when the great plan to catch the Count is carried out. Susanna and the Countess swap clothes, confusing the Count (and everyone else), and the Count is caught in the act. When all is revealed, apologies are made and all is forgiven.
“Giunse alfin il momento … Deh vieni, non tardar” (“The last moment has arrived … Please come, don’t delay”): Susanna’s Act IV Recitative & Aria
“Deh vieni, non tardar,” from The Marriage of Figaro; Sophie Bevan as Susanna
After Figaro hears about the invitation Susanna gave the Count to rendezvous, he assumes Susanna is unfaithful, and has come to witness her infidelity. As Susanna waits alone, she knows Figaro is hiding nearby, and playfully sings this aria of love to Figaro. Figaro mistakes her intentions and becomes more jealous when he assumes she is singing in anticipation for the Count’s arrival.
Keep listening
Check out the rest of the music on our Spotify playlist, and be sure to experience the music and drama in person at The Marriage of Figaro, November 7, 13, and 15, 2026, at Kauffman Center for the Performing Arts!
Sponsors
The 2026–2027 season is sponsored by the Richard J. Stern Foundation for the Arts; the Muriel McBrien Kauffman Family Foundation; the Lyric Opera of Kansas City Foundation; and R.C. Kemper Charitable Trust and Foundation, UMB Bank, n.a., Trustee; with public support from Missouri Arts Council, a state agency. The Marriage of Figaro is supported, in part, by the City of Kansas City, Missouri Neighborhood Tourist Development Fund.
Featured image © Dana Sohm
