# “Contessa Perdono” From Mozart’s Opera “Figaro”



## Truvianni (Apr 21, 2011)

An article about one of the most splendorous moments in opera history which truly expresses all the grandness of humanity in its beauty to forgive with love. Forgoing all rancor in favor of genuine emotions of affection. It being the aria “Contessa Perdono” which was featured in the film “Amadeus”. 

It is on December 15 of the present year that Joannuszka Slisznuszka and myself will be going to see Mozart’s opera “Figaro” at Warsaw’s “Teatr Wielki” and it is the aria “Contessa Perdono” which I will particularly point out to her attention. As it is one of the greatest arias ever written, to match any I have seen; for simply being majestic in its tenderness. “Contessa Perdono” with its melody, I am almost sure will capture the heart of the lady who has come to inspire many of my poems and stories.

As for “Contessa Perdono”, it is almost at the very end of “Figaro” that we hear this aria. It being after a very long and complicated story which concludes when count Almaviva’s wife, the countess decides to teach her husband a lesson. She planning to do so with the assistance of both Figaro and his wife, Susana. All in a plan which will make the countess’s husband see for himself that his suspicions of her infidelity are completely unfounded. 

The plan is for the Countess to dress up like her maid and more importantly for her maid, Susana to dress up like the countess and give the impression that she and Figaro are involved in acts romance which count Almaviva will find them in. This being precisely what they do as they allow count Almaviva to see Susana enter a dark small room with Figaro. Naturally count Almaviva believing Susana to be his wife at the time which makes him mad with jealousy as he goes over to the room and makes them come out so he can catch them red-handed . It however is at that moment that he sees that Cherubino, the page is also there along with the gardener’s daughter and his own mother, who is followed by Figaro and then by the woman he assumes is his wife, the countess. 

Count Almaviva is furious because he thinks his wife has been unfaithful to him with Figaro and it is as he is yelling about how he has been betrayed that all the characters get down on their knees to beg his forgiveness but he is adamant in claiming he can not grant clemency in his words “no, no, I can not grant it, no, no”. It is however as he stands triumphantly after having refused all apologies that we hear a voice in the background. It is a woman whom we at first do not see, who says that in that case she will ask for pardon on their behaves. 

Count Almaviva at that moment, looking up and much to his shock sees that the woman who is approaching is in fact his own wife, he claiming “good heavens, I am seeing things” as the countess slowly and meticulously removes the veil which covered her; to make it clear to all that she is the real countess. It also being apparent on the countess’s face that she is in fact offended at having been unfairly accused of infidelity. This as she with cold eyes and movements removes her wedding ring which she calmly lets drop to the ground while a silence falls over the theatre. 

It seeming as if all is over yet this serves to set up a moment of true bliss as the count respectfully drops to one knee before his wife and with all the humility in the world, claims “Contessa Perdono” (I am sorry countess) while music of forgiveness seems to inundate the theatre. As if an unstoppable force that is all of humanity claiming its unique ability to rise to the grandness which it is capable of. The countess then seeing that her husband’s apology is sincere finds all the love that was once in their relationship, as she in the voice of a soprano claims that she is capable of forgiving the man who has always been her beloved husband. All with a music which seems to make time stand still as the audience is left in a state of almost complete grace while the harmonies of delightful joy lift spirits to their highest point of nobility.

The message being clear that they can all live happily as joyful music takes over as all become friends and old problems are forgotten. This leading all the characters to put behind their grievances with the words “lets all run to celebrate”. This bringing an end to Mozart’s “Figaro” which I am sure a sensitive soul like that of my Joannuszka will be able to appreciate as I do.


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