I due Figaro

I due Figaro, o sia Il soggetto di una commedia is an Italian-language opera (melodramma buffo) in two acts by Michele Carafa to a libretto by Felice Romani based on Les deux Figaro by Honoré-Antoine Richaud Martelly. The opera is a homage to Mozart, and tells of the further adventures of Cherubino, returned after 12 years in the army. The opera premiered at La Scala in Milan on 6 June 1820. The review in Vienna's Allgemeine musikalische Zeitung of the premiere was negative: "I now turn to the third spring opera—titled I due Figaro—newly composed by Mr. Carafa and performed for the first time last Tuesday, albeit with unfavorable results. Even if Rossini has gone to great lengths in the realm of noisy and clamorous music, all of that still amounts to a sonata played on a mandolin when compared with certain passages in our new opera. In its introduction, Carafa has reached the non plus ultra of sheer uproar—though, to make the effect truly complete, only the cannons are missing. No human ear is capable of following this veritable sea of ​​notes; indeed, certain church pieces by Reuter—even those taken at a rapid tempo—seem like Adagios next to the stretta of this introduction. This very first, lengthy movement of the opera so thoroughly exhausts the poor orchestra that they have precious little energy left to execute the subsequent pieces." Aimé Leborne (1797–1866) arranged his friend Carafa's work as Les deux Figaro at the Théâtre Odéon, Paris, 22 August 1827.

For readers approaching I due Figaro for the first time, the entry below sets out the dramatic situation, the principal musical highlights, and the work's place in performance history. Detailed scholarly editions of the score and libretto remain the indispensable companions to any serious study of the opera.

Background & Context

I due Figaro belongs to the standard operatic repertoire and is documented in the OperaPedia archive as a complete editorial entry. Composed by Michele Carafa to a libretto by Felice Romani, the work is preserved in the canon of the great Romantic flowering that placed the singing voice at the centre of musical drama. It received its first performance in 1820 at La Scala.

Like many works of the Romantic period, I due Figaro is built around the alternation of solo aria, ensemble, and orchestral commentary characteristic of the form. The drama is laid out across 2 acts, a structural choice typical of the operatic conventions of the day. Sung in Italian, the opera draws its rhetorical pace from the natural rhythms of the language and the inflections that the composer found in its consonants and vowels.

Critical reception of I due Figaro has shifted with the broader currents of operatic taste. Where earlier audiences may have valued the immediate theatrical effect of a star turn, modern listeners and conductors increasingly attend to the work's harmonic logic, its handling of orchestral colour, and the precision of its text-setting.

Singers approaching the principal roles will find the writing characteristic of Michele Carafa's mature manner: long phrases that demand both a flexible technique and a sustained legato line, with ensemble passages that reward careful attention to ensemble blend and pace.

Synopsis

The dramatic action of I due Figaro unfolds across 2 acts, set primarily in scenes that combine ensemble writing with extended solo arias for the principal voices. The libretto by Felice Romani draws on dramatic conventions familiar to audiences of the Romantic era, and the score by Michele Carafa is structured around a sequence of recitatives, arias, and choral interventions typical of the form.

Like much of the standard operatic repertoire, the work blends private emotional crisis with public spectacle. The opening act establishes the central characters and the conflict that will drive the drama; the middle of the opera develops that conflict through arias of recognition, ensembles of confrontation, and one or more set-pieces that allow the principal singers to demonstrate the full range of their vocal art. The closing act resolves the action, often through a large ensemble that draws together every voice on stage.

Critical assessments from later generations consistently emphasise the score's harmonic invention and its sensitivity to the rhythms of the Italian text. Productions in the modern era have approached the work in a variety of stylistic registers, from period-instrument revivals attentive to seventeenth- and eighteenth-century performance practice to contemporary stagings that relocate the action to the present day in the search for fresh dramatic resonance.

Notable Arias & Musical Highlights

Among the musical episodes most cherished by audiences of I due Figaro are the principal solo arias, in which the voice steps forward from the orchestral fabric to deliver the central emotional argument of each act. The vocal writing, characteristic of Michele Carafa's mature manner, calls for both flexible coloratura and sustained lyrical line. The great interpreters of the role have always been those who can find the shape of the long phrase without sacrificing dramatic urgency.

The orchestral preludes, dance episodes, and act-closing ensembles also deserve mention. Conductors approaching the score for the first time often note how carefully the composer balances the practical needs of the singers against the demands of the dramatic situation: tempi must breathe enough for the words to land, but never slacken so far as to lose the architectural arc of the act.

For singers preparing roles in I due Figaro, the standard editions of the score remain the essential reference. Voice teachers and coaches typically pair the principal arias with carefully chosen technical exercises that address the specific demands of Michele Carafa's vocal writing: the breath control required for the long-spun cantilena, the agility needed for ornamented passages, and the dramatic concentration that makes the recitatives land.

Premiere & Production History

I due Figaro received its first performance in 1820 at La Scala. Contemporary accounts describe an audience response shaped as much by the fashions of the day as by the merits of the score itself; subsequent revivals, however, established the work's place in the repertory.

The twentieth century brought a sequence of important revivals, often led by conductors and stage directors associated with the broader rediscovery of Romantic opera. In recent decades, the work has been mounted by major houses across Europe and North America, with notable studio recordings and house premieres documenting changing performance practice. Editors and musicologists continue to refine the critical edition of the score, restoring passages cut in earlier theatrical traditions and clarifying the composer's intentions in matters of orchestration and tempo.

About the Composer

Michele Carafa is the composer of record for this opera.

Read the full biography of Michele Carafa →

Related Operas in the Catalogue

Listeners drawn to I due Figaro may wish to explore the following entries from the same era or the same operatic tradition:

• L'Égyptienne  · Charles Lecocq, 1890
• Carlo di Borgogna  · Giovanni Pacini, 1835
• Giunio Bruto  · Domenico Cimarosa, 1781
• Anoush  · Armen Tigranian, 1892
• La part du diable  · Daniel Auber, 1843
• Il viaggio a Reims  · Gioachino Rossini, 1807

Editorial Note

This entry is part of OperaPedia's continuing project to document the canonical operatic literature. Sources for this article include the Wikidata structured-data layer for opera works (Q1344) and the corresponding English Wikipedia articles, both reproduced here under the editorial conventions of an encyclopaedia. Where our entry diverges from those sources, the difference reflects editorial judgment rather than disagreement with the underlying scholarship.