Wednesday evening
We — Bartolo, Marcellina and Basilio-- entered the drawing room at a spanking pace, and had to come to a fast halt within a yard. There was the Count, looking self-satisfied, a bearded Figaro, Susanna and the Countess.
Astern was the piano. At our bow, and within a foot of Bartolo’s nose was the baton of Mark, and all around was audience. Singing involved keeping an eye on the goings-on and eye contact with the Count, looking outraged at Figaro, the Countess and Susanna, when they suggested Bartolo was a scoundrel, and then grabbing the shoulders of a very powerful Marcellina who was acting so well that for a moment Bartolo thought: “Crikey, this is meant to be opera”. The thought put him off stride, so he bungled counting the gap between “capitar”, bottom of page 214, and “qualche” at the top of page 275. On inquiry, the audience didn’t notice.
So the moral of this story must be, if Marcellina is so determined to get physical, don’t interfere.
Bartolo
We — Bartolo, Marcellina and Basilio-- entered the drawing room at a spanking pace, and had to come to a fast halt within a yard. There was the Count, looking self-satisfied, a bearded Figaro, Susanna and the Countess.
Astern was the piano. At our bow, and within a foot of Bartolo’s nose was the baton of Mark, and all around was audience. Singing involved keeping an eye on the goings-on and eye contact with the Count, looking outraged at Figaro, the Countess and Susanna, when they suggested Bartolo was a scoundrel, and then grabbing the shoulders of a very powerful Marcellina who was acting so well that for a moment Bartolo thought: “Crikey, this is meant to be opera”. The thought put him off stride, so he bungled counting the gap between “capitar”, bottom of page 214, and “qualche” at the top of page 275. On inquiry, the audience didn’t notice.
So the moral of this story must be, if Marcellina is so determined to get physical, don’t interfere.
Bartolo
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