Place: Biscay and Aragon (Spain)
Time: Fifteenth century.
Act 1: The Duel
Scene 1: The guard room in the castle of Luna (The Palace of Aljafería, Zaragoza, Spain)
Ferrando, the captain of the guards, orders his men to keep watch while Count di Luna wanders restlessly beneath the windows of Leonora, lady-in-waiting to the Princess. Di Luna loves Leonora and is jealous of his successful rival, a troubadour whose identity he does not know. In order to keep the guards awake, Ferrando narrates the history of the count (Racconto: Di due figli vivea padre beato / "The good Count di Luna lived happily, the father of two sons"): many years ago, a gypsy was wrongfully accused of having bewitched the youngest of the di Luna children; the child had fallen sick, and for this the gypsy had been burnt alive as a witch, her protests of innocence ignored. Dying, she had commanded her daughter Azucena to avenge her, which she did by abducting the baby. Although the burnt bones of a child were found in the ashes of the pyre, the father refused to believe his son's death. Dying, the father commanded his firstborn, the new Count di Luna, to seek Azucena.
Scene 2: Garden in the palace of the princess
Leonora confesses her love for the Troubadour to her confidante, Ines (Cavatina:Tacea la notte placida / "The peaceful night lay silent"... Di tale amor / "A love that words can scarcely describe"), in which she tells how she fell in love with a mystery knight, victor at a tournament: lost track of him when a civil war broke out: then encountered him again, in disguise as a wandering troubadour who sang beneath her window. When they have gone, Count di Luna enters, intending to pay court to Leonora himself, but hears the voice of his rival, in the distance: (Deserto sulla terra / "Alone upon this earth"). Leonora in the darkness briefly mistakes the count for her lover, until the Troubadour himself enters the garden, and she rushes to his arms. The Count challenges his rival to reveal his true identity, which he does: Manrico, a knight now outlawed and under death sentence for his allegiance to a rival prince. Manrico in turn challenges him to call the guards, but the Count regards this encounter as a personal rather than political matter, and challenges Manrico instead to a duel over their common love. Leonora tries to intervene, but cannot stop them from fighting (Trio: Di geloso amor sprezzato / "The fire of jealous love" ).
Act 2: The Gypsy Woman
Scene 1: The gypsies' camp
The gypsies sing the Anvil Chorus: Vedi le fosche notturne / "See! The endless sky casts off her sombre nightly garb...". Azucena, the daughter of the Gypsy burnt by the count, is still haunted by her duty to avenge her mother (Canzone: Stride la vampa / "The flames are roaring!"). The Gypsies break camp while Azucena confesses to Manrico that after stealing the di Luna baby she had intended to burn the count's little son along with her mother, but overwhelmed by the screams and the gruesome scene of her mother's execution, she became confused and threw her own child into the flames instead (Racconto: Condotta ell'era in ceppi / "They dragged her in bonds").
Manrico realises that he is not the son of Azucena, but loves her as if she were indeed his mother, as she has always been faithful and loving to him - and, indeed, saved his life only recently, discovering him left for dead on a battlefield after being caught in ambush. Manrico tells Azucena that he defeated di Luna in their earlier duel, but was held back from killing him by a mysterious power (Duet: Mal reggendo / "He was helpless under my savage attack"): and Azucena reproaches him for having stayed his hand then, especially since it was the Count's forces that defeated him in the subsequent battle of Pelilla. A messenger arrives and reports that Manrico's allies have taken Castle Castellor, which Manrico is ordered to hold in the name of his prince: and also that Leonora, who believes Manrico dead, is about to enter a convent and take the veil that night. Although Azucena tries to prevent him from leaving in his weak state (Ferma! Son io che parlo a te! / "I must talk to you"), Manrico rushes away to prevent her from carrying out this intent.
Scene 2: In front of the convent
Di Luna and his attendants intend to abduct Leonora and the Count sings of his love for her (Aria: Il balen del suo sorriso / "The light of her smile" ... Per me ora fatale / "Fatal hour of my life"). Leonora and the nuns appear in procession, but Manrico prevents di Luna from carrying out his plans and takes Leonora away with him, although once again leaving the Count behind unharmed, as the soldiers on both sides back down from bloodshed, the Count being held back by his own men.
Act 3: The Son of the Gypsy Woman
Scene 1: Di Luna's camp
Di Luna and his army are attacking the fortress Castellor where Manrico has taken refuge with Leonora (Chorus: Or co' dadi ma fra poco / "Now we play at dice"). Ferrando drags in Azucena, who has been captured wandering near the camp. When she hears di Luna’s name, Azucena’s reactions arouse suspicion and Ferrando recognizes her as the supposed murderer of the count’s brother. Azucena cries out to her son Manrico to rescue her and the count realizes that he has the means to flush his enemy out of the fortress. He orders his men to build a pyre and burn Azucena before the walls.
Scene 2: A chamber in the castle
Inside the castle, Manrico and Leonora are preparing to be married. She is frightened; the battle with di Luna is imminent and Manrico’s forces are outnumbered. He assures her of his love (Aria: Ah sì, ben mio, coll'essere / "Ah, yes, my love, in being yours"), even in the face of death. When news of Azucena’s capture reaches him, he summons his men and desperately prepares to attack (Cabaletta: Di quella pira l'orrendo foco / "The horrid flames of that pyre"). Leonora faints.
Act 4: The Punishment
Scene 1: Before the dungeon keep
Manrico has failed to free Azucena and has been imprisoned himself. Leonora attempts to free him (Aria: D'amor sull'ali rosee / "On the rosy wings of love"; Chorus & Duet: Miserere / "Lord, thy mercy on this soul") by begging di Luna for mercy and offers herself in place of her lover. She promises to give herself to the count, but secretly swallows poison from her ring in order to die before di Luna can possess her (Duet: Mira, d'acerbe lagrime / "See the bitter tears I shed").
Scene 2: In the dungeon
Manrico and Azucena are awaiting their execution. Manrico attempts to soothe Azucena, whose mind wanders to happier days in the mountains (Duet: Ai nostri monti ritorneremo / "Again to our mountains we shall return"). At last the gypsy slumbers. Leonora comes to Manrico and tells him that he is saved, begging him to escape. When he discovers she cannot accompany him, he refuses to leave his prison. He believes Leonora has betrayed him until he realizes that she has taken poison to remain true to him. As she dies in agony in Manrico's arms she confesses that she prefers to die with him than to marry another (Trio: Prima che d'altri vivere / "Rather than live as another's"). The count has heard Leonora's last words and orders Manrico's execution. Azucena awakes and tries to stop di Luna. Once Manrico is dead, she cries: Egli era tuo fratello! Sei vendicata, o madre. / "He was your brother ... You are avenged, oh mother!"

Backstory: The Egyptians have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the King of Egypt. To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings.
Act 1
Scene 1: A hall in the King's palace; through the rear gate the pyramids and temples of Memphis are visible
Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander (Ramfis, Radamès: "Sì, corre voce l'Etiope ardisca" / Yes, it is rumored that Ethiopia dares once again to threaten our power).
Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love (Radamès: "Se quel guerrier io fossi! ... Celeste Aida" / Heavenly Aida). Aida, who is also secretly in love with Radamès, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude.
Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: "Quale insolita gioia nel tuo sguardo" / In your looks I trace a joy unwonted).
Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: "Vieni, o diletta, appressati" / Come, O delight, come closer).
The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Ethiopians, led by King Amonasro, are marching towards Thebes. The King declares war and proclaims that Radamès is the man chosen by the goddess Isis to be the leader of the army (The King, Messenger, Radamès, Aida, Amneris, Ramfis, chorus: "Alta cagion v'aduna .. Guerra, guerra, guerra!" / Oh fate o'er Egypt looming .. War, war, war!). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: "Su! del Nilo al sacro lido" .. (reprise) "Guerra, guerra guerra!" / On! Of Nilus' sacred river, guard the shores .. (reprise) War, war, war!).
Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: "Ritorna vincitor" / Return a conqueror).
Scene 2: Inside the Temple of Vulcan
Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: "Possente Ftha ... Tu che dal nulla" / O mighty Ptah). This is followed by the installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Ramfis, Radamès: "Immenso Ftha .. Mortal, diletto ai Numi" / O mighty one, guard and protect!). All present in the temple pray fervently for the victory of Egypt and protection for their warriors ("Nume, custode e vindice"/ Hear us, O guardian deity).
Act 2
Scene 1: The chamber of Amneris
Dances and music to celebrate Radamès' victory take place (Chorus, Amneris: "Chi mai fra gli inni e i plausi" / Our songs his glory praising). However, Amneris is still in doubt about Radamès' love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses).
When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: "Fu la sorte dell'armi a' tuoi funesta" / The battle's outcome was cruel for your people).
This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida's pleadings (Amneris, Aida, chorus: "Su! del Nilo al sacro lido" / Up! at the sacred shores of the Nile), Amneris leaves her alone in the chamber.
Scene 2: The grand gate of the city of Thebes
Radamès returns victorious and the troops march into the city (Chorus, Ramfis: "Gloria all'Egitto, ad Iside" / Glory to Egypt, [and] to Isis!).
The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Ethiopian captives are led onstage in chains, Amonasro among them. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians. Amonasro deceptively proclaims to the Egyptians that the Ethiopian king (referring to himself) has been slain in battle. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but Ramfis and the Egyptian priests call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: "Che veggo! .. Egli? .. Mio padre! .. Anch'io pugnai .. Struggi, o Re, queste ciurme feroci" / What do I see?.. Is it he? My father? .. Destroy, O King, these ferocious creatures).
Claiming the reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free. The King grants Radamès' wish, and declares that he (Radamès) will be his (the King's) successor and will marry the King's daughter (Amneris). (Aida, Amneris, Radamès, Ramfis, The King, Amonasro, chorus: "O Re: pei sacri Numi! .. Gloria all'Egitto" / O King, by the sacred gods ... Glory to Egypt!). At Ramfis' suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.
Act 3
On the banks of the Nile, near the Temple of Isis
Prayers are said (Chorus, High Priestess, Ramfis, Amneris: "O tu che sei d'Osiride" / O thou who to Osiris art) on the eve of Amneris and Radamès' wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: "Qui Radamès verra .. O patria mia" / Oh, my dear country!).
Amonasro appears and orders Aida to find out the location of the Egyptian army from Radamès. Aida, torn between her love for Radamès and her loyalty to her native land and to her father, reluctantly agrees. (Aida, Amonasro: "Ciel, mio padre! .. Rivedrai le foreste imbalsamate" / Once again shalt thou gaze). When Radamès arrives, Amonasro hides behind a rock and listens to their conversation.
Radamès affirms that he will marry Aida ("Pur ti riveggo, mia dolce Aida .. Nel fiero anelito"; "Fuggiam gli ardori inospiti .. Là, tra foreste vergini" / I see you again, my sweet Aida!), and Aida convinces him to flee to the desert with her.
In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès realizes, to his extreme dismay, that he has unwittingly revealed a crucial military secret to the enemy. At the same time, Amneris and Ramfis leave the temple and, seeing Radamès in conference with the enemy, call for the imperial guards. Amonasro draws a dagger, intending to kill Amneris and Ramfis before the guards can hear them, but Radamès disarms him, quickly orders him to flee with Aida, and surrenders himself to the imperial guards as Aida and Amonasro run off. The guards arrest him as a traitor.
Act 4
Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cell
Amneris desires to save Radamès ("L'aborrita rivale a me sfuggia" / My hated rival has escaped me). She calls for the guard to bring him to her.
She asks Radamès to deny the accusations, but Radamès, who does not wish to live without Aida, refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: "Già i Sacerdoti adunansi" / Already the priests are assembling).
Offstage, Ramfis recites the charges against Radamès and calls on him to defend himself, but he stands mute, and is condemned to death as a traitor. Amneris, who remains onstage, protests that he Radamès is innocent, and pleads with the priests to show mercy. The priests sentence him to be buried alive; Amneris weeps and curses the priests as he is taken away (Judgment scene, Amneris, Ramfis, and chorus: "Ahimè! .. morir mi sento .. Radamès, e deciso il tuo fato" / Alas .. I feel death .. Radamès, your fate is decided).
Scene 2: The lower portion of the stage shows the vault in the Temple of Vulcan; the upper portion represents the temple itself
Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès and Aida: "La fatal pietra sovra me si chiuse." / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Si pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows. Above the vault in the temple of Vulcan, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès' arms as the priests, offstage, pray to the god Ftha. (Chorus, Aida, Radamès, Amneris: "Immenso Ftha" / Almighty Ptah).

Time: The 1820s
Place: St Petersburg and surrounding countryside
Act 1
Scene 1: The garden of the Larin country estate
Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina's two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga's fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.
Scene 2: Tatyana's room
Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd's pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.
Scene 3: Another part of the estate
Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin's arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply.
Act 2
Scene 1: The ballroom of the Larin house
A ball is being given in honour of Tatyana, whose name day it is. Onegin is dancing with her. He grows irritated with a group of neighbours who gossip about him and Tatyana, and with Lensky for persuading him to come to the ball. He decides to avenge himself by dancing and flirting with Olga. Lensky is astounded and becomes extremely jealous. He confronts Olga but she cannot see that she has done anything wrong and tells Lensky not to be ridiculous. Onegin asks Olga to dance with him again and she agrees, as "punishment" for Lensky's jealousy. The elderly French tutor Monsieur Triquet sings some couplets in honour of Tatyana, after which the quarrel between Lensky and Onegin becomes more intense. Lensky renounces his friendship with Onegin in front of all the guests, and challenges Onegin to a duel, which the latter is forced, with many misgivings, to accept. Tatyana collapses and the ball ends in confusion.
Scene 2: On the banks of a wooded stream, early morning
Lensky is waiting for Onegin with his second Zaretsky. Lensky reflects on his life, his fear of death and his love for Olga. Onegin arrives with his manservant Guillot. Both Lensky and Onegin are reluctant to go ahead with the duel, reflecting on the senselessness of their sudden enmity. But it is too late; neither man has the courage to stop the duel. Zaretsky gives them the signal and Onegin shoots Lensky dead.
Act 3
Scene 1: The house of a rich nobleman in St Petersburg
Five years have passed, during which Onegin has travelled extensively around Europe. Standing alone at a ball, he reflects on the emptiness of his life and his remorse over the death of Lensky. Prince Gremin enters with Tatyana, his wife, now a grand, aristocratic beauty. She is greeted by many of the guests with great deference. Onegin is taken aback when he sees Tatyana, and deeply impressed by her beauty and noble bearing. Tatyana, in turn, is overwhelmed with emotion when she recognizes him, but tries to suppress it. Gremin tells Onegin about his great happiness and love for Tatyana, and re-introduces Onegin to his wife. Onegin, suddenly injected with new life, realizes that he is in love with Tatyana. He determines to write to her and arrange a meeting.
Scene 2: A room in Prince Gremin's house
Tatyana has received Onegin's letter, which has stirred up the passion she felt for him as a young girl and disturbed her. Onegin enters. Tatyana recalls her earlier feelings and asks why Onegin is pursuing her now. Is it because of her social position? Onegin denies any cynical motivation: his passion is real and overwhelming. Tatyana, moved to tears, reflects how near they once were to happiness but nevertheless asks him to leave. He asks her to have pity. Tatyana admits she still loves Onegin, but asserts that their union can never be realized, as she is now married, and determined to remain faithful to her husband despite her true feelings. Onegin implores her to relent, but she bids him farewell forever, leaving him alone and in despair.

The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.
Place: Count Almaviva's estate, Aguas-Frescas, three leagues outside Seville, Spain.
Overture
The overture is in the key of D major; the tempo marking is presto; i.e. very fast. The work is well known and often played independently as a concert piece.
Act 1
A partly furnished room, with a chair in the centre.
Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet in front of a mirror (in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding cappellino). (Duet: "Cinque, dieci, venti" – "Five, ten, twenty"). Figaro is quite pleased with their new room; Susanna far less so (Duettino: "Se a caso madama la notte ti chiama" – "If the Countess should call you during the night"). She is bothered by its proximity to the Count's chambers: it seems he has been making advances toward her and plans on exercising his droit du seigneur, the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her. The Count had the right abolished when he married Rosina, but he now wants to reinstate it. The Countess rings for Susanna and she rushes off to answer. Figaro, confident in his own resourcefulness, resolves to outwit the Count (Cavatina: "Se vuol ballare signor contino" – "If you want to dance, sir count").
Figaro departs, and Dr. Bartolo arrives with Marcellina, his old housekeeper. Figaro had previously borrowed a large sum of money from her, and, in lieu of collateral, had promised to marry her if unable to repay at the appointed time; she now intends to enforce that promise by suing him. Bartolo, seeking revenge against Figaro for having facilitated the union of the Count and Rosina (in The Barber of Seville), agrees to represent Marcellina pro bono, and assures her, in comical lawyer-speak, that he can win the case for her (aria: "La vendetta" – "Vengeance").
Bartolo departs, Susanna returns, and Marcellina and Susanna exchange very politely delivered sarcastic insults (duet: "Via resti servita, madama brillante" – "After you, brilliant madam"). Susanna triumphs in the exchange by congratulating her rival on her impressive age. The older woman departs in a fury.
Cherubino then arrives and, after describing his emerging infatuation with all women, particularly with his "beautiful godmother" the Countess (aria: "Non so più cosa son" – "I don't know anymore what I am"), asks for Susanna's aid with the Count. It seems the Count is angry with Cherubino's amorous ways, having discovered him with the gardener's daughter, Barbarina, and plans to punish him. Cherubino wants Susanna to ask the Countess to intercede on his behalf. When the Count appears, Cherubino hides behind a chair, not wanting to be seen alone with Susanna. The Count uses the opportunity of finding Susanna alone to step up his demands for favours from her, including financial inducements to sell herself to him. As Basilio, the music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Cherubino leaves that hiding place just in time, and jumps onto the chair while Susanna scrambles to cover him with a dress.
When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: "Cosa sento!" – "What do I hear!"). He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table. As he lifts the dress from the chair to illustrate how he lifted the tablecloth to expose Cherubino, he finds ... the self same Cherubino! The count is furious, but is reminded that the page overheard the Count's advances on Susanna, something that the Count wants to keep from the Countess. The young man is ultimately saved from punishment by the entrance of the peasants of the Count's estate, a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied. The Count evades Figaro's plan by postponing the gesture. The Count says that he forgives Cherubino, but he dispatches him to his own regiment in Seville for army duty, effective immediately. Figaro gives Cherubino mocking advice about his new, harsh, military life from which all luxury, and especially women, will be totally excluded (aria: "Non più andrai" – "No more gallivanting").
Act 2
A handsome room with an alcove, a dressing room on the left, a door in the background (leading to the servants' quarters) and a window at the side.
The Countess laments her husband's infidelity (aria: "Porgi, amor, qualche ristoro" – "Grant, love, some comfort"). Susanna comes in to prepare the Countess for the day. She responds to the Countess's questions by telling her that the Count is not trying to seduce her; he is merely offering her a monetary contract in return for her affection. Figaro enters and explains his plan to distract the Count with anonymous letters warning him of adulterers. He has already sent one to the Count (via Basilio) that indicates that the Countess has a rendezvous of her own that evening. They hope that the Count will be too busy looking for imaginary adulterers to interfere with Figaro and Susanna's wedding. Figaro additionally advises the Countess to keep Cherubino around. She should dress him up as a girl and lure the Count into an illicit rendezvous where he can be caught red-handed. Figaro leaves.
Cherubino arrives, sent in by Figaro and eager to co-operate. Susanna urges him to sing the song he wrote for the Countess (aria: "Voi che sapete che cosa è amor" – "You ladies who know what love is, is it what I'm suffering from?"). After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring (which would be necessary to make it an official document).
Susanna and the Countess then begin with their plan. Susanna takes off Cherubino's cloak, and she begins to comb his hair and teach him to behave and walk like a woman (aria of Susanna: "Venite, inginocchiatevi" – "Come, kneel down before me"). Then she leaves the room through a door at the back to get the dress for Cherubino, taking his cloak with her.
While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving. Cherubino hides in the closet. The Count demands to be allowed into the room and the Countess reluctantly unlocks the door. The Count enters and hears a noise from the closet. He tries to open it, but it is locked. The Countess tells him it is only Susanna, trying on her wedding dress. At this moment, Susanna re-enters unobserved, quickly realizes what's going on, and hides behind a couch (Trio: "Susanna, or via, sortite" – "Susanna, come out!"). The Count shouts for her to identify herself by her voice, but the Countess orders her to be silent. Furious and suspicious, the Count leaves, with the Countess, in search of tools to force the closet door open. As they leave, he locks all the bedroom doors to prevent the intruder from escaping. Cherubino and Susanna emerge from their hiding places, and Cherubino escapes by jumping through the window into the garden. Susanna then takes Cherubino's former place in the closet, vowing to make the Count look foolish (duet: "Aprite, presto, aprite" – "Open the door, quickly!").
The Count and Countess return. The Countess, thinking herself trapped, desperately admits that Cherubino is hidden in the closet. The enraged Count draws his sword, promising to kill Cherubino on the spot, but when the door is opened, they both find to their astonishment only Susanna (Finale: "Esci omai, garzon malnato" – "Come out of there, you ill-born boy!"). The Count demands an explanation; the Countess tells him it is a practical joke, to test his trust in her. Shamed by his jealousy, the Count begs for forgiveness. When the Count presses about the anonymous letter, Susanna and the Countess reveal that the letter was written by Figaro, and then delivered by Basilio. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of the window and damaged his carnations while running away. Antonio adds that he tentatively identified the running man as Cherubino, but Figaro claims it was he himself who jumped out of the window, and pretends to have injured his foot while landing. Figaro, Susanna, and the Countess attempt to discredit Antonio as a chronic drunkard whose constant inebriation makes him unreliable and prone to fantasy, but Antonio brings forward a paper which, he says, was dropped by the escaping man. The Count orders Figaro to prove he was the jumper by identifying the paper (which is, in fact, Cherubino's appointment to the army). Figaro is at a loss, but Susanna and the Countess manage to signal the correct answers, and Figaro triumphantly identifies the document. His victory is, however, short-lived: Marcellina, Bartolo, and Basilio enter, bringing charges against Figaro and demanding that he honor his contract to marry Marcellina, since he cannot repay her loan. The Count happily postpones the wedding in order to investigate the charge.
Act 3
A rich hall, with two thrones, prepared for the wedding ceremony.
The Count mulls over the confusing situation. At the urging of the Countess, Susanna enters and gives a false promise to meet the Count later that night in the garden (duet: "Crudel! perchè finora" – "Cruel girl, why did you make me wait so long"). As Susanna leaves, the Count overhears her telling Figaro that he has already won the case. Realizing that he is being tricked (recitative and aria: "Hai già vinta la causa! ... Vedrò, mentr'io sospiro" – "You've already won the case!" ... "Shall I, while sighing, see"), he resolves to punish Figaro by forcing him to marry Marcellina.
Figaro's hearing follows, and the Count's judgment is that Figaro must marry Marcellina. Figaro argues that he cannot get married without his parents' permission, and that he does not know who his parents are, because he was stolen from them when he was a baby. The ensuing discussion reveals that Figaro is Rafaello, the long-lost illegitimate son of Bartolo and Marcellina. A touching scene of reconciliation occurs. During the celebrations, Susanna enters with a payment to release Figaro from his debt to Marcellina. Seeing Figaro and Marcellina in celebration together, Susanna mistakenly believes that Figaro now prefers Marcellina to her. She has a tantrum and slaps Figaro's face. Marcellina explains, and Susanna, realizing her mistake, joins the celebration. Bartolo, overcome with emotion, agrees to marry Marcellina that evening in a double wedding (sextet: "Riconosci in questo amplesso" – "Recognize in this embrace").
All leave, before Barbarina, Antonio's daughter, invites Cherubino back to her house so they can disguise him as a girl. The Countess, alone, ponders the loss of her happiness (aria: "Dove sono i bei momenti" – "Where are they, the beautiful moments"). Meanwhile, Antonio informs the Count that Cherubino is not in Seville, but in fact at his house. Susanna enters and updates her mistress regarding the plan to trap the Count. The Countess dictates a love letter for Susanna to send to the Count, which suggests that he meet her (Susanna) that night, "under the pines". The letter instructs the Count to return the pin which fastens the letter (duet: "Sull'aria...che soave zeffiretto" – "On the breeze... What a gentle little zephyr").
A chorus of young peasants, among them Cherubino disguised as a girl, arrives to serenade the Countess. The Count arrives with Antonio and, discovering the page, is enraged. His anger is quickly dispelled by Barbarina, who publicly recalls that he had once offered to give her anything she wants in exchange for certain favors, and asks for Cherubino's hand in marriage. Thoroughly embarrassed, the Count allows Cherubino to stay.
The act closes with the double wedding, during the course of which Susanna delivers her letter to the Count (Finale: "Ecco la marcia" – "Here is the procession"). Figaro watches the Count prick his finger on the pin, and laughs, unaware that the love-note is an invitation for the Count to tryst with Figaro's own bride Susanna. As the curtain drops, the two newlywed couples rejoice.
Act 4
The garden, with two pavilions. Night.
Following the directions in the letter, the Count has sent the pin back to Susanna, giving it to Barbarina. However, Barbarina has lost it (aria: "L'ho perduta, me meschina" – "I have lost it, poor me"). Figaro and Marcellina see Barbarina, and Figaro asks her what she is doing. When he hears the pin is Susanna's, he is overcome with jealousy, especially as he recognises the pin to be the one that fastened the letter to the Count. Thinking that Susanna is meeting the Count behind his back, Figaro complains to his mother, and swears to be avenged on the Count and Susanna, and on all unfaithful wives. Marcellina urges caution, but Figaro will not listen. Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. Marcellina sings an aria lamenting that male and female wild beasts get along with each other, but rational humans can't (aria: "Il capro e la capretta" – "The billy-goat and the she-goat"). (This aria and Basilio's ensuing aria are usually omitted from performances due to their relative unimportance, both musically and dramatically; however, some recordings include them.)
Motivated by jealousy, Figaro tells Bartolo and Basilio to come to his aid when he gives the signal. Basilio comments on Figaro's foolishness and claims he was once as frivolous as Figaro was. He tells a tale of how he was given common sense by "Donna Flemma" ("Dame Prudence") and learned the importance of not crossing powerful people. (aria: "In quegli anni" – "In those years"). They exit, leaving Figaro alone. Figaro muses bitterly on the inconstancy of women (recitative and aria: "Tutto è disposto ... Aprite un po' quegli occhi" – "Everything is ready ... Open those eyes a little"). Susanna and the Countess arrive, each dressed in the other's clothes. Marcellina is with them, having informed Susanna of Figaro's suspicions and plans. After they discuss the plan, Marcellina and the Countess leave, and Susanna teases Figaro by singing a love song to her beloved within Figaro's hearing (aria: "Deh vieni, non tardar" – "Oh come, don't delay"). Figaro is hiding behind a bush and, thinking the song is for the Count, becomes increasingly jealous.
The Countess arrives in Susanna's dress. Cherubino shows up and starts teasing "Susanna" (really the Countess), endangering the plan. (Finale: "Pian pianin le andrò più presso" - "Softly, softly I'll approach her") The Count gets rid of him by striking out in the dark. His punch actually ends up hitting Figaro, but the point is made and Cherubino runs off.
The Count now begins making earnest love to "Susanna" (really the Countess), and gives her a jeweled ring. They go offstage together, where the Countess dodges him, hiding in the dark. Onstage, meanwhile, the real Susanna enters, wearing the Countess' clothes. Figaro mistakes her for the real Countess, and starts to tell her of the Count's intentions, but he suddenly recognizes his bride in disguise. He plays along with the joke by pretending to be in love with "my lady", and inviting her to make love right then and there. Susanna, fooled, loses her temper and slaps him many times. Figaro finally lets on that he has recognized Susanna's voice, and they make peace, resolving to conclude the comedy together ("Pace, pace, mio dolce tesoro" - "Peace, peace, my sweet treasure").
The Count, unable to find "Susanna", enters frustrated. Figaro gets his attention by loudly declaring his love for "the Countess" (really Susanna). The enraged Count calls for his people and for weapons: his servant is seducing his wife. (Ultima scena: "Gente, gente, all'armi, all'armi" – "Gentlemen, to arms!") Bartolo, Basilio and Antonio enter with torches as, one by one, the Count drags out Cherubino, Barbarina, Marcellina and the "Countess" from behind the pavilion.
All beg him to forgive Figaro and the "Countess", but he loudly refuses, repeating "no" at the top of his voice, until finally the real Countess re-enters and reveals her true identity. The Count, seeing the ring he had given her, realizes that the supposed Susanna he was trying to seduce was actually his wife. Ashamed and remorseful, he kneels and pleads for forgiveness himself ("Contessa perdono!" – "Countess, forgive me!"). The Countess, more kind than he ("Più docile io sono" – "I am more mild"), forgives her husband and all are contented.

Place: Paris
Time: Around 1830
Act 1
In the four bohemians' garret (Christmas Eve)
Marcello is painting while Rodolfo gazes out of the window. They complain of the cold. In order to keep warm, they burn the manuscript of Rodolfo's drama. Colline, the philosopher, enters shivering and disgruntled at not having been able to pawn some books. Schaunard, the musician of the group, arrives with food, wine and cigars. He explains the source of his riches: a job with an eccentric English gentleman, who ordered him to play his violin to a parrot until it died. The others hardly listen to his tale as they set up the table to eat and drink. Schaunard interrupts, telling them that they must save the food for the days ahead: tonight they will all celebrate his good fortune by dining at Cafe Momus, and he will pay.
The friends are interrupted by Benoît, the landlord, who arrives to collect the rent. They flatter him and ply him with wine. In his drunkenness, he begins to boast of his amorous adventures, but when he also reveals that he is married, they thrust him from the room—without the rent payment—in comic moral indignation. The rent money is divided for their evening out in the Quartier Latin.
Marcello, Schaunard and Colline go out, but Rodolfo remains alone for a moment in order to finish an article he is writing, promising to join his friends soon. There is a knock at the door. It is a girl who lives in another room in the building. Her candle has blown out, and she has no matches; she asks Rodolfo to light it. She is briefly overcome with faintness, and Rodolfo helps her to a chair and offers her a glass of wine. She thanks him. After a few minutes, she says that she is better and must go. But as she turns to leave, she realizes that she has lost her key.
Her candle goes out in the draught and Rodolfo's candle goes out too; the pair stumble in the dark. Rodolfo, eager to spend time with the girl, to whom he is already attracted, finds the key and pockets it, feigning innocence. He takes her cold hand (Che gelida manina—"What a cold little hand") and tells her of his life as a poet, then asks her to tell him more about her life. The girl says her name is Mimì (Sì, mi chiamano Mimì—"Yes, they call me Mimì"), and describes her simple life as an embroiderer. Impatiently, the waiting friends call Rodolfo. He answers and turns to see Mimì bathed in moonlight (duet, Rodolfo and Mimì: O soave fanciulla—"Oh lovely girl"). They realize that they have fallen in love. Rodolfo suggests remaining at home with Mimì, but she decides to accompany him to the Cafe Momus. As they leave, they sing of their newfound love.
Act 2
Quartier Latin (same evening)
A great crowd, including children, has gathered with street sellers announcing their wares (chorus: Aranci, datteri! Caldi i marroni!—"Oranges, dates! Hot chestnuts!"). The friends arrive; Rodolfo buys Mimì a bonnet from a vendor, while Colline buys a coat and Schaunard a horn. Parisians gossip with friends and bargain with the vendors; the children of the streets clamor to see the wares of Parpignol, the toy seller. The friends enter the Cafe Momus.
As the men and Mimì dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and elderly) government minister admirer, Alcindoro, whom she is tormenting. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risqué song (Musetta's waltz: Quando m'en vo'—"When I go along"), hoping to reclaim Marcello's attention. The ploy works; at the same time, Mimì recognizes that Musetta truly loves Marcello. To be rid of Alcindoro for a bit, Musetta pretends to be suffering from a tight shoe and sends him to the shoemaker to get her shoe mended. Alcindoro leaves, and Musetta and Marcello fall rapturously into each other's arms.
The friends are presented with their bill. However, Schaunard's purse has gone missing and no one else has enough money to pay. The sly Musetta has the entire bill charged to Alcindoro. The sound of a military band is heard, and the friends leave. Alcindoro returns with the repaired shoe seeking Musetta. The waiter hands him the bill and, dumbfounded, Alcindoro sinks into a chair.
Act 3
At the toll gate at the Barrière d'Enfer (late February)
Peddlers pass through the barriers and enter the city. Mimì appears, coughing violently. She tries to find Marcello, who is currently living in a little tavern where he paints signs for the innkeeper. She tells him of her hard life with Rodolfo, who abandoned her the night before, and of Rodolfo's terrible jealousy (O buon Marcello, aiuto!—"Oh, good Marcello, help me!"). Marcello tells her that Rodolfo is asleep inside, and expresses concern about Mimì's cough. Rodolfo wakes up and comes out looking for Marcello. Mimì hides and overhears Rodolfo first telling Marcello that he left Mimì because of her coquettishness, but finally confessing that his jealousy is a sham: he fears she is slowly being consumed by a deadly illness (most likely tuberculosis, known by the catchall name "consumption" in the nineteenth century). Rodolfo, in his poverty, can do little to help Mimì and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor (Marcello, finalmente—"Marcello, finally").
Out of kindness towards Mimì, Marcello tries to silence him, but she has already heard all. Her weeping and coughing reveal her presence, and Rodolfo hurries to her. Musetta's laughter is heard and Marcello goes to find out what has happened. Mimì tells Rodolfo that she is leaving him, and asks that they separate amicably (Mimì: Donde lieta uscì—"From here she happily left"); but their love for one another is too strong for the pair to part. As a compromise, they agree to remain together until the spring, when the world is coming to life again and no one feels truly alone. Meanwhile, Marcello has found Musetta, and the couple quarrel fiercely about Musetta's flirtatiousness: an antithetical counterpoint to the other pair's reconciliation (quartet: Mimì, Rodolfo, Musetta, Marcello: Addio dolce svegliare alla mattina!—"Goodbye, sweet awakening in the morning!").
Act 4
Back in the garret (some months later)
Marcello and Rodolfo are trying to work, though they are primarily talking about their girlfriends, who have left them and found wealthy lovers. Rodolfo has seen Musetta in a fine carriage and Marcello has seen Mimì dressed like a queen. The men both express their nostalgia (duet: O Mimì, tu più non torni—"O Mimì, will you not return?"). Schaunard and Colline arrive with a very frugal dinner and all parody eating a plentiful banquet, dance together and sing, before Schaunard and Colline engage in a mock duel.
Musetta suddenly appears; Mimì, who took up with a wealthy viscount after leaving Rodolfo in the spring, has left her patron. Musetta found her that day in the street, severely weakened by her illness, and Mimì begged Musetta to bring her to Rodolfo. Mimì, haggard and pale, is assisted onto a bed. Briefly, she feels as though she is recovering. Musetta and Marcello leave to sell Musetta's earrings in order to buy medicine, and Colline leaves to pawn his overcoat (Vecchia zimarra—"Old coat"). Schaunard leaves with Colline to give Mimì and Rodolfo some time together. Mimì tells Rodolfo that her love for him is her whole life (aria/duet, Mimì and Rodolfo: Sono andati?—"Have they gone?").
To Mimì's delight, Rodolfo presents her with the pink bonnet he bought her, which he has kept as a souvenir of their love. They remember past happiness and their first meeting—the candles, the lost key. Suddenly, Mimì is overwhelmed by a coughing fit. The others return, with a gift of a muff to warm Mimì's hands and some medicine. Mimì gently thanks Rodolfo for the muff, which she believes is a present from him, reassures him that she is better and falls asleep. Musetta prays. Schaunard discovers that Mimì has died. Rodolfo rushes to the bed, calling Mimì's name in anguish, weeping helplessly as the curtain falls.

Time: The second half of the eighteenth century
Places: Amiens, Paris, Le Havre, New Orleans
Act 1
Amiens: A large public square near the Paris Gate
Off the square is an Avenue on one side and an Inn on the other, with a balcony. It is evening, townspeople, soldiers and a crowd of male students and girls stroll through the avenue and square while others gather in groups. Some are seated at the tables outside the Inn, drinking and gambling.
Edmondo sings a song of youthful pleasure (Edmondo, chorus of students, girls and townspeople: Ave, sera gentile – Hail gentle evening). Des Grieux enters, and they greet him, but he is melancholic and does not join the others, singing cynically of love (des Grieux, Edmondo, chorus: L'amor?, L'amor? ...io non conosco! – Love?, Love?...I know nothing of that). They joke with him and provoke him to feign flirtation with the girls (des Grieux: Tra voi, belle, brune e bionde – Among you beauties, dark and fair); (Edmondo, chorus: Ma, bravo!).
A postillion horn is heard and the carriage from Arras pulls up at the Inn, as the crowd peers in to see who the passengers are (Chorus: Giunge il cocchio d'Arras! – Here comes the Arras coach!) Lescaut (Manon's brother), then an elderly treasurer-general, Geronte di Ravoir, descend from the coach, Geronte helping Manon, then the remainder of the passengers. The crowd comments (Chorus, Edmondo, Lescaut, des Grieux, Geronte: Discendono, vediam! – Look, they are getting down!) Edmondo and the students admire Manon (Chi non darebbe a quella donnina bella? – Who would not give to that beautiful young woman?). Des Grieux is also smitten (Dio, quanto è bella! – Dear God, such beauty!). The other passengers enter the Inn, while Lescaut signals Manon to wait for him. She sits, as des Grieux, who has been fixated on her, approaches her and declares his feelings for her (des Grieux, Manon,: Cortese damigella – Gentle lady), only to learn she is destined for a convent at the will of her father. He offers to help her, and when Lescaut calls her he begs her to meet him later; she reluctantly agrees. After Manon leaves, des Grieux sings of his feelings for her (des Grieux: Donna non vidi mai – Never before have I beheld a woman such as this). The students and girls, who have been observing the couple, comment mockingly on his good fortune (Edmondo, students: La tua ventura ci rassicura – Your good fortune encourages us).
Lescaut and Geronte descend and converse in the square about Manon's fate, observed by Edmondo. Geronte, who also is captivated by Manon, says she would be wasted in a convent. On hearing his fellow traveller's opinion, Lescaut begins to reconsider his task of escorting his sister to the convent. The students invite Lescaut to join in their card game. Geronte observes that Lescaut is preoccupied with the game and discloses his plan to abduct Manon and take her to Paris to the Innkeeper, offering him money for assistance and his silence. Edmondo overhears the plan and informs des Grieux (Edmondo: Cavaliere, te la fanno! – Sir, they are outwitting you!). He offers to help des Grieux, arranging for the card players to keep Lescaut occupied.
Manon slips out of the inn to meet des Grieux as promised (Manon: Vedete? Io son fedele alla parola mia – You see? I am faithful to my word). He declares his love for her and advises her of the plot to abduct her, while Edmondo arranges for the carriage Geronte has hired to take the couple to Paris. They leave together just as Geronte arrives, ready to execute his plans (Geronte: Di sedur la sorellina e il momento! – The moment to seduce the little sister has arrived). Geronte is taunted by Edmondo. Realising he has been tricked, Geronte urges Lescaut to follow the departed pair. The more pragmatic Lescaut advises him that the pair will soon run out of money, and then Manon will be his.
Act 2
A room in Geronte's house in Paris
(Puccini omits the part of the novel in which Manon and des Grieux live together for a few months, and Manon leaves des Grieux when his money has run out.)
Manon is now Geronte's mistress. Manon and her hairdresser are in the room when Lescaut enters (Manon, Lescaut: Dispettosetto questo riccio!); (Lescaut: Sei splendida e lucente!). She tells him that Geronte is too old and wicked; he bores her. Manon is sad, and her thoughts turn to des Grieux (Manon: In quelle trine morbide); (Lescaut, Manon: Poiché tu vuoi saper).
Musicians hired by Geronte enter to amuse her (Madrigal: Sulla vetta tu del monte); (Manon, Lescaut: Paga costor). Geronte brings a dancing master; they dance a minuet, then she sings a gavotte (Dancing master, Geronte, Manon, chorus: Vi prego, signorina [minuet]); (Manon, Geronte, chorus: L'ora, o Tirsi, è vaga e bella). After dancing, Geronte and the musicians leave the house.
Dismayed that his sister is unhappy living with Geronte, Lescaut goes to find des Grieux. Des Grieux appears in Geronte's house (Manon, des Grieux: Oh, sarò la più bella! – This love's own magic spell). As des Grieux and Manon renew their vows of love, Geronte returns unexpectedly. He salutes the couple, reminding Manon of his many favors to her, including some precious jewels. She replies that she cannot love him (Geronte, des Grieux, Manon: Affè, madamigella).
Bowing low, he leaves them. Manon rejoices in their freedom (Manon: Ah! Ah! Liberi!); (des Grieux: "Ah, manon, mi tradisce il tuo folle pensiero). Lescaut urges them to leave the house at once, but Manon hesitates at the thought of leaving her jewels and pretty frocks. Again, Lescaut enters in breathless haste, making signs that they must depart immediately. Manon snatches up her jewels, and they go to the door. It has been locked by Geronte's order. Soldiers appear to arrest Manon who, in trying to escape, drops the jewels at Geronte's feet. She is dragged away and des Grieux is not permitted to follow her (des Grieux, Manon, Lescaut, sergeant, Geronte: Lescaut! – Tu qui?).
(Intermezzo: The journey to Le Havre.)
His various efforts to have Manon released and even to free her by force having failed, des Grieux follows her to Le Havre.
Act 3
A square near the harbor in Le Havre
At dawn Manon is with the other imprisoned courtesans (des Grieux, Lescaut, Manon: Ansia eterna, crudel). Lescaut has bribed a guard to let des Grieux speak with Manon. Talking to her through the bars, he learns that she is to be deported to Louisiana. A lamplighter passes, singing a song as he extinguishes the lights (Lamplighter, des Grieux, Manon: E Kate ripose al re); (des Grieux, Manon: Manon, disperato è il mio prego).
They attempt a rescue, but in vain. The guard appears, escorting a group of women, who are going on the same ship as Manon. She walks among them, pale and sad. The crowd makes brutal comments during the roll call of the courtesans (Chorus, Lescaut, des Grieux, Manon: All'armi! All'armi!), but Lescaut inspires pity for Manon (Sergeant, chorus, Lescaut, Manon, des Grieux: Rosetta! – Eh, che aria!).
Des Grieux, in despair at the idea of being separated from Manon forever, goes to her side. He tries to seize her but is pushed away by the sergeant. However, the captain of the ship sees his intense grief (des Grieux: Pazzo son!) and allows him to board the ship.
Act 4
A vast plain near the outskirts of the New Orleans territory
Having fled the jealous intrigues of New Orleans, the lovers make their way across a desert to seek refuge in a British settlement. Wandering in the desert, the ailing Manon is exhausted. She falls and cannot go any farther (des Grieux, Manon: Tutta su me ti posa); (des Grieux: Vedi, son io che piango); (Manon, des Grieux: Sei tu che piangi).
Des Grieux is alarmed by Manon's appearance and goes to look for water. While he is gone, Manon recalls her past and muses about her fatal beauty and her fate (Manon: Sola, perduta, abbandonata).
Des Grieux returns, having been unable to find water. Manon bids him a heart-rending farewell, however not before complaining about how her life has not been fair and that she is no longer beautiful. Before dying in his arms Manon asks des Grieux to tell her how beautiful she used to be, and how he must forgive her wrongdoings and faults before she dies, not listening to him repeat how much he loves her and will miss her. Overcome by grief at the death of his vain and selfish lover, des Grieux collapses across her body (Manon, des Grieux: Fra le tue braccia, amore).

Prologue
Don Quixote's Study
Bachelor Sanson Carrasco is seen covering a bookcase with wallpaper, while Antonina is putting some rusty old armour and a helmet made of pasteboard into a cupboard. Don Quixote de la Mancha enters, reading a book. He goes to the bookcase and, not finding it, believes it has been stolen by evil magicians. Then he settles into an armchair and continues reading. He delights in stories of brave knights, fabulous giants and other fantastical creatures, but most of all Don Quixote dreams of his beloved Dulcinea, a woman that he believes to be so lovely and noble that she must be divinity. Gradually he nods and falls asleep to dream of their romantic adventures. Darkness falls.
Suddenly his servant, Sancho Panza, climbs hurriedly through the window. In pursuit are several angry women from the market from whom he has stolen bread and a chicken. Awakened by the commotion, Don Quixote sends the women away. Don Quixote tells Sancho that he is determined to seek adventures as a knight-errant, all the while searching for his beloved Dulcinea. He shows him the pasteboard helmet, which, with one sweep from his sword, becomes a shapeless mass on the floor. Antonina suggests that he should use a shaving basin instead, which would make a splendid helmet. Don Quixote enthusiastically agrees and, placing it on his head, orders Sancho to bring him his armour, sword and spear, and to make ready his horse, Rocinante.
Act I
A market-place in Barcelona
Kitri, an inn-keeper's daughter, steals out of her house to meet her beloved, the barber Basilio. Her father, Lorenzo, sees the lovers and sends Basilio away, bringing Kitri to tears. Now comes the rich nobleman Gamache, who, likewise in love with Kitri, goes to Lorenzo and asks for his daughter's hand. The innkeeper accepts with delight but Kitri, appalled at the thought of wedding the foppish nobleman, runs away.
Dancing begins in the square and some toreadors try to kidnap the girls they fancy, but their relatives and lovers hasten to their aid. At this moment Don Quixote arrives mounted on Rocinante, followed by Sancho, who is riding a donkey. At his master's command Sancho sounds his rusted horn, causing the townspeople to cover their ears. Lorenzo runs out of his inn, and Don Quixote, taking him for the lord of a famous castle, dismounts Rocinante and, falling to his knees, begs to be allowed to serve him. Charmed, Lorenzo invites the knight to sit on his balcony. Sancho remains in the square where he is surrounded by girls who induce him to take part in a game of blind man's bluff. Then some boys bring in a blanket on which they place Sancho and proceed to toss him into the air. Don Quixote hurries to his assistance and sets him free.
Peasants gather in the square and dancing resumes. Kitri returns and, noticing her, Don Quixote acclaims her as his Dulcinea, whom evil magicians have reduced to human form. Becoming jealous of her affection for Basilio, Don Quixote attempts to woo her by partnering her in a minuet. Lorenzo berates Kitri for carrying on with Basilio. Kitri and Basilio then run away, and Lorenzo and Gamache follow them. Don Quixote orders Sancho to bring Rocinante, so that he may also set out in pursuit.
Act II
Scene 1 – A camp of gypsies among the windmills outside the village
Kitri, disguised as a boy is seen walking with Harlequin from a troupe of travelling actors. They guess she is a girl and ask her to stay with them.
Scene 2 - The Puppet Theatre
A clown is seen walking with Graziosa, the gypsy chief's daughter. A gypsy tells the chief of the approach of Don Quixote. The chief plans a trick for his benefit and, putting on a mantle crown, sits down as though he were a king on a throne. Don Quixote is deceived and kneels to the chief in homage. The chief bids that he sit beside him and orders a festival to be given in his honor. This begins with Gypsy dances and is followed by a performance of the marionette theatre. Don Quixote is delighted with the entertainment but, mistaking the heroine for his Dulcinea and the marionettes for soldiers attacking her, he rises to assault them. The gypsies are terrified. At this moment the clown and Graziosa run away.
Scene 3 - The Windmills
Flushed with victory, the knight kneels and renders thanks to heaven. Seeing the moon, he takes it for his Dulcinea and tries to get to her. As he approaches the windmills he can see the moon no longer and thinks that evil magicians have hidden his beloved mistress. So, spear in hand, he tilts at the wings of the windmill, which he mistakes for a giant. Alas, the knight is caught by one of the wings and flung into the air. He falls unconscious at Sancho's feet.
Scene 4 – A forest
Through the trees appears Sancho leading Rocinante, upon which sits the wounded Don Quixote. The servant lifts his master down and places him on the grass, so that he may rest. Then, tying up the horse, he goes to sleep. Don Quixote also tries to sleep, but is troubled by fantastic dreams.
Scene 5 – The enchanted Garden of Dulcinea
Fairies appear surrounded by gnomes and Don Quixote finds himself dressed in shining armor. Then comes a succession of fearsome monsters, the last being a gigantic spider, who spins a web. The knight attacks the spider, which he slashes in half with his sword. At that same moment the spider's web vanishes to reveal a beautiful garden, filled with dryads and beautiful women, presided over by the Queen of the Dryads and Amor. Among them is Dulcinea and Don Quixote kneels before his beloved. At this moment everything vanishes.
Act III
The Square
Back at the square, Kitri and Basilio join those who are dancing. At the height of the merriment, Lorenzo and Gamache arrive, followed by Don Quixote and Sancho. Seeing his daughter, Lorenzo decides to give his blessing to her union with the nobleman Gamache. Basilio becomes annoyed and, reproaching Kitri for her unfaithfulness, draws a sword and stabs himself. As he lies dying he begs Lorenzo to unite him with Kitri, but Lorenzo and Gamache refuse. Don Quixote approaches Gamache and challenges him to a duel for having refused a dying man's wish. Gamache declines to fight and the merrymakers drive him out of the inn. Taking pity, Lorenzo agrees to unite Basilio and Kitri. At this moment, Basilio pulls out the sword and tells everyone it was a joke.
Act IV
The Tavern
A magnificent feast is held in honour of Don Quixote. Suddenly the Knight of the Silver Moon challenges him to a duel, which results in the latter being vanquished. The victorious knight proves to be none other than Bachelor Sanson Carrasco, who forces Don Quixote to vow that he will not unsheathe his sword for a whole year. The sorrowful knight, true to his vow, takes up his warlike gear and, followed by Sancho, sets out for home.

Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit.
Act 1
The overture begins with a thundering D minor cadence, followed by a short misterioso sequence which leads into a light-hearted D major allegro.
Scene 1 – The garden of the Commendatore
Leporello, Don Giovanni's servant, grumbles about his demanding master and daydreams about being free of him ("Notte e giorno faticar" – "Night and day I slave away"). He is keeping watch while Don Giovanni is in the Commendatore's house attempting to seduce or rape the Commendatore's daughter, Donna Anna. Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: "Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai!" – "Do not hope, unless you kill me, that I shall ever let you run away!"). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni's path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: "Ah, vendicar, se il puoi, giura quel sangue ognor!" – "Ah, swear to avenge that blood if you can!")
Scene 2 – A public square outside Don Giovanni's palace
Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge ("Ah, chi mi dice mai" – "Ah, who could ever tell me"). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognize each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.
Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 ("Madamina, il catalogo è questo" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance.
Scene 3 – The open country
A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry ("Ho capito! Signor, sì" – "I understand! Yes, my lord!") but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: "Là ci darem la mano" – "There we will entwine our hands").
Donna Elvira arrives and thwarts the seduction ("Ah, fuggi il traditor" – "Flee from the traitor!"). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna's father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni's help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: "Non ti fidar, o misera" – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the imposture (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni's voice, not seen his face), resolves to keep an eye on his friend ("Dalla sua pace la mia dipende" – "On her peace my peace depends").
Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (Don Giovanni's "Champagne Aria": "Fin ch'han dal vino calda la testa" – "Till they are tipsy"). They hasten to his palace.
Scene 4 – A garden outside Don Giovanni's palace
Zerlina follows the jealous Masetto and tries to pacify him ("Batti, batti o bel Masetto" – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master's party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: "Protegga il giusto cielo" – "May the just heavens protect us").
Scene 5 – Don Giovanni's ballroom
As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.
Act 2
Scene 1 – Outside Donna Elvira's house
Leporello threatens to leave Don Giovanni, but his master calms him with a peace offering of money (Duet: "Eh via buffone" – "Go on, fool"). Wanting to seduce Donna Elvira's maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (Trio: "Ah taci, ingiusto core" – "Ah, be quiet unjust heart"). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni's cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira is convinced and descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. ("Deh, vieni alla finestra" – "Ah, come to the window").
Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto's friends (Don Giovanni aria: "Metà di voi qua vadano" – "Half of you go this way. the others, go that way"), Don Giovanni takes Masetto's weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto ("Vedrai carino" – "You'll see, dear one").
Scene 2 – A dark courtyard
Leporello abandons Donna Elvira. (Sextet: "Sola, sola in buio loco" – "All alone in this dark place"). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming that he is her husband and begging the others to spare him. Leporello takes off Don Giovanni's cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: "Ah pietà signori miei" – "Ah, have mercy, my lords"). Don Ottavio is now convinced that Don Giovanni is the one who murdered Donna Anna's father (the deceased Commendatore). He swears vengeance ("Il mio tesoro" – "My treasure" – though in the Vienna version this was cut).
In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: "Per queste tue manine" – "For these hands of yours"). Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me").
Scene 3 – A graveyard with the statue of the Commendatore.
Don Giovanni wanders into a graveyard. Leporello happens along and the two are reunited. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. The voice of the statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue's base: "Here am I waiting for revenge against the scoundrel who killed me" (Dell'empio che mi trasse al passo estremo qui attendo la vendetta). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner but is too frightened to complete the invitation (Duet: "O, statua gentilissima" – "Oh most noble statue"). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively.
Scene 4 – Donna Anna's room
Don Ottavio pressures Donna Anna to marry him, but she thinks it is inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful ("Non mi dir" – "Tell me not").
Scene 5 – Don Giovanni's chambers
Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: "O quanto un sì bel giubilo" from Vicente Martín y Soler's Una cosa rara (1786), "Come un agnello" from Giuseppe Sarti's Fra i due litiganti il terzo gode (1782) and finally, "Non più andrai" from Mozart's own The Marriage of Figaro (1786). Leporello complains that he is sick and tired of hearing Mozart's aria everywhere all the time. (Finale "Già la mensa preparata" – "Already the table is prepared"). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. ("L'ultima prova dell'amor mio" – "The final proof of my love"). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as the "support and glory of humankind" (sostegno e gloria d'umanità). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore ("Don Giovanni! A cenar teco m'invitasti" – "Don Giovanni! You invited me to dine with you"), the statue offers a last chance to repent, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear.
Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.
The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" ("Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual"). As mentioned above, the final ensemble was customarily omitted from productions for over a century beginning with the original run in Prague, but it started to be performed again frequently in the 20th century and is now is usually included in productions of the opera. The return to D major and the innocent simplicity of the last few bars conclude the opera.

Time: The reign of Henry IV, 1399 to 1413
Place: Windsor, England
Act 1
A room at the Garter Inn
Falstaff and his servants, Bardolfo and Pistola, are drinking at the inn. Dr Caius bursts in and accuses Falstaff of burgling his house and Bardolfo of picking his pocket. He is ejected. Falstaff hands a letter to each of his servants for delivery to Alice Ford and Meg Page, two wealthy married women. In these two identical letters, Falstaff professes his love for each of the women, although it is access to their husbands' money that he chiefly covets. Bardolfo and Pistola refuse, claiming that honour prevents them from obeying him. Falstaff dispatches his page, Robin, to deliver the letters. Falstaff delivers a tirade at his rebellious followers (L'onore! Ladri ... ! / "Honour! You rogues ... !") telling them that honour is a mere word and is of no practical value. He chases them out of his sight.
Ford's garden
Alice and Meg have received Falstaff's letters. They compare them, see that they are identical and, together with Mistress Quickly and Nannetta Ford, resolve to punish Falstaff. Meanwhile, Ford has been warned of the letters by Bardolfo and Pistola. All three are thirsty for revenge and are supported by Dr Caius and Fenton, a young gentleman. To Ford's disapproval, Fenton is in love with Nannetta. Finding a moment to be alone, the young lovers exchange banter. They are interrupted by the return of Alice, Meg and Mistress Quickly. The act ends with an ensemble in which the women and the men separately plan revenge on Falstaff.
Act 2
A room at the Garter Inn
Falstaff is alone at the inn. Bardolfo and Pistola, now in the pay of Ford, enter and pretend to beg for forgiveness for past transgressions. They announce to their master the arrival of Mistress Quickly, who delivers an invitation to go to Alice's house that afternoon between the hours of two and three. She also delivers an answer from Meg Page and assures Falstaff that neither is aware of the other's letter. Falstaff celebrates his potential success ("Va, vecchio John" / "Go, old Jack, go your own way"). Ford arrives, masquerading as "Signor Fontana", supposedly an admirer of Alice; he offers money to the fat knight to seduce her. Falstaff is puzzled at the request, and "Fontana" explains that if Alice succumbs to Falstaff, it will then be easier for Fontana to overcome her virtuous scruples. Falstaff agrees with pleasure and reveals that he already has a rendezvous arranged with Alice for two o'clock – the hour when Ford is always absent from home. Falstaff goes off to change into his best clothes; Ford is consumed with jealousy (È sogno o realtà? / "Is it a dream or reality?"). When Falstaff returns in his finery, they leave together with elaborate displays of mutual courtesy.
A room in Ford's house
The three women plot their strategy ("Gaie Comari di Windsor" / "Merry wives of Windsor, the time has come!"). They are in high spirits, but Alice notices that Nannetta is not. This is because Ford plans to marry her to Dr Caius, a man old enough to be her grandfather; the women reassure her that they will prevent it. Mistress Quickly announces Falstaff's arrival, and Mistress Ford has a large laundry basket and a screen placed in readiness. Falstaff's attempts to seduce Alice with tales of his past glory ("Quand'ero paggio del Duca di Norfolk" / "When I was page to the Duke of Norfolk I was slender") are cut short, as Mistress Quickly reports the impending arrival of Ford with a retinue of henchmen to catch his wife's lover. Falstaff hides first behind the screen, and then the women hide him in the laundry basket. In the meantime Fenton and Nannetta hide behind the screen. The men hear the sound of a kiss behind it. They assume it is Falstaff with Alice, but instead they find the young lovers. Ford orders Fenton to leave. Inside the hamper Falstaff is almost suffocating. While the men resume the search of the house Alice orders her servants to throw the laundry basket through the window into the River Thames, where Falstaff endures the jeers of the crowd.
Act 3
Before the inn
Falstaff glumly curses the sorry state of the world. Some mulled wine soon improves his mood. Mistress Quickly arrives and delivers another invitation to meet Alice. Falstaff at first wants nothing to do with it, but she persuades him. He is to meet Alice at midnight at Herne's Oak in Windsor Great Park dressed up as Herne the Hunter. He and Mistress Quickly go inside the inn. Ford has realised his error in suspecting his wife, and they and their allies have been watching secretly. They now concoct a plan for Falstaff's punishment: dressed as supernatural creatures, they will ambush and torment him at midnight. Ford privately proposes a separate plot to Caius: Nannetta will be disguised as Queen of the Fairies, Caius will wear a monk's costume, and Ford will join the two of them with a nuptial blessing. Mistress Quickly overhears and quietly vows to thwart Ford's scheme.
Herne's Oak in Windsor Park on a moonlit midnight
Fenton arrives at the oak tree and sings of his happiness ("Dal labbro il canto estasiato vola" / "From my lips, a song of ecstasy flies") ending with "Lips that are kissed lose none of their allure." Nannetta enters to finish the line with "Indeed, they renew it, like the moon." The women arrive and disguise Fenton as a monk, telling him that they have arranged to spoil Ford's and Caius's plans. Nannetta, as the Fairy Queen, instructs her helpers ("Sul fil d'un soffio etesio" / "On the breath of a fragrant breeze, fly, nimble spirits") before all the characters arrive on the scene. Falstaff's attempted love scene with Alice is interrupted by the announcement that witches are approaching, and the men, disguised as elves and fairies, soundly thrash Falstaff. At length he recognises Bardolfo in disguise. The joke is over, and Falstaff acknowledges that he has received his due. Ford announces that a wedding shall ensue. Caius and the Queen of the Fairies enter. A second couple, also in masquerade, ask Ford to deliver the same blessing for them as well. Ford conducts the double ceremony. Caius finds that instead of Nannetta, his bride is the disguised Bardolfo, and Ford has unwittingly blessed the marriage of Fenton and Nannetta. Ford accepts the fait accompli with good grace. Falstaff, pleased to find himself not the only dupe, proclaims in a fugue, which the entire company sings, that all the world is folly, and all are figures of fun (Tutto nel mondo è burla ... Tutti gabbati! / "Everything in the world is a jest ...").

Place: Mantua
Time: the sixteenth century
Act 1
Scene 1: Mantua. A magnificent hall in the ducal palace. Doors at the back open into other rooms, splendidly lit up. A crowd of lords and ladies in grand costumes are seen walking about in the rear rooms; page boys come and go. The festivities are at their height. Music is heard from offstage. The Duke and Borsa enter from a door in the back.
At a ball in his palace, the Duke sings of a life of pleasure with as many women as possible, and mentions that he particularly enjoys cuckolding his courtiers: "Questa o quella" ("This woman or that"). He mentions to Borsa that he has seen an unknown beauty in church and desires to possess her, but he also wishes to seduce the Countess of Ceprano. Rigoletto, the Duke's hunchbacked court jester, mocks the husbands of the ladies to whom the Duke is paying attention, including the Count Ceprano, and advises the Duke to get rid of him by prison or death. The Duke laughs indulgently, but Ceprano is not amused. Marullo, one of the guests at the ball, informs the courtiers that Rigoletto has a "lover", which astonishes them. (Marullo is not aware that the "lover" is actually Rigoletto's daughter.) The courtiers, at Ceprano's suggestion, resolve to take vengeance on Rigoletto for making fun of them. The festivities are interrupted by the arrival of the elderly Count Monterone, whose daughter the Duke had seduced. Rigoletto provokes him further by making fun of his helplessness to avenge his daughter's honor. Monterone confronts the Duke, and is immediately arrested by the Duke's guards. Before being led off to prison, Monterone curses both the Duke for the attack on his daughter and Rigoletto for having mocked his righteous anger. The curse terrifies Rigoletto, who believes the popular superstition that an old man's curse has real power.
Scene 2: The end of a dead-end street. On the left, a house of discreet appearance with one small courtyard surrounded by walls. In the yard there is one tall tree and a marble seat; in the wall, a door that leads to the street; above the wall, a terrace supported by arches. The second floor door opens on to the said terrace, which can also be reached by a staircase in front. To the right of the street is the very high wall of the garden and a side of the Ceprano palace. It is night.
Preoccupied with the old man's curse, Rigoletto approaches the house where he is concealing his daughter from the world and is accosted by the hit-man Sparafucile, who walks up to him and offers his services. Rigoletto declines for the moment, but leaves open the possibility of hiring Sparafucile later, should the need arise. Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: "Pari siamo!" ("We are alike!"); Sparafucile kills men with his sword, and Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and embraces his daughter Gilda. They greet each other warmly: "Figlia!" "Mio padre!" ("Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name.
When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. She says that she fell in love with him, but that she would love him even more if he were a student and poor. As she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for Giovanna, unaware that the Duke had sent her away. Pretending to be a student, the Duke convinces Gilda of his love: "È il sol dell'anima" ("Love is the sunshine of the soul"). When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: "Addio, addio" ("Farewell, farewell"). Alone, Gilda meditates on her love for the Duke, whom she believes is a student: "Gualtier Maldè!... Caro nome che il mio cor" ("Dearest name").
Later, Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile courtiers outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. They tell Rigoletto that they are actually abducting the Countess Ceprano. He sees that they are masked and asks for a mask for himself; while they are tying the mask onto his face, they also blindfold him. Blindfolded and deceived, he holds the ladder steady while they climb up to Gilda's room: Chorus: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the courtiers. Left alone, Rigoletto removes his mask and blindfold, and realizes that it was in fact Gilda who was carried away. He collapses in despair, remembering the old man's curse.
Act 2
A room in the ducal palace. There are doors on both sides as well as a larger one at the far end by the sides of which hang full length portraits of the Duke and his wife. There is one high-backed chair at a table covered with velvet and other furnishings.
The Duke is concerned that Gilda has disappeared: "Ella mi fu rapita!" ("She was stolen from me!") and "Parmi veder le lagrime" ("I seem to see tears"). The courtiers then enter and inform him that they have captured Rigoletto's mistress: Chorus: "Scorrendo uniti" ("We went together at nightfall"). By their description, he recognizes it to be Gilda and rushes off to the room where she is held: "Possente amor mi chiama" ("Mighty love beckons me"). Rigoletto enters singing and feigning nonchalance, but also looking anxiously for any trace of Gilda, whom he fears may have fallen into the hands of the Duke. The courtiers pretend not to notice his anxiety, but quietly laugh at him with each other. A page boy arrives with a message from the Duke's wife - the Duchess wishes to speak to her husband - but the courtiers reply suggestively that the Duke cannot be disturbed at the moment. Rigoletto realizes this must mean that Gilda is with the Duke. To the courtiers' surprise, he reveals that Gilda is his daughter. He first demands, then tearfully pleads with the courtiers to return her to him: "Cortigiani, vil razza dannata" ("Accursed race of courtiers"). Rigoletto attempts to run into the room in which Gilda is being held, but the courtiers block his way. After a time, Gilda enters, and Rigoletto orders the courtiers to leave him alone with her. The courtiers leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: "Tutte le feste al tempio" ("On all the holy days") and he attempts to console her. Monterone is led across the room on the way to prison and pauses in front of the portrait of the Duke to regret that his curse on the libertine has had no effect. As the guards lead Monterone away, Rigoletto mutters that the old man is mistaken; he, Rigoletto, the dishonored buffoon, shall make thunder and lightning rain from heaven onto the offender's head. He repeats this vow as Gilda pleads for mercy for her lover the Duke: Duet:"Sì! Vendetta, tremenda vendetta!" ("Yes! Revenge, terrible revenge!").
Act 3
The right bank of the river Mincio. On the left is a two-story house, half ruined. Through a large arch on the ground floor a rustic tavern can be seen as well as a rough stone staircase that leads to an attic room with a small bed which is in full view as there are no shutters. In the wall downstairs that faces the street is a door that opens to the inside. The wall is so full of holes and cracks that everything that happens inside is easily seen from the exterior. At the back of the stage are deserted areas by the river which flows behind a parapet that has half collapsed into ruins. Beyond the river is Mantua. It is night. Gilda and Rigoletto, both uneasy, are standing in the road; Sparafucile is seated at a table in the tavern.
A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda arrive outside. The Duke's voice can be heard from inside, singing "La donna è mobile" ("Woman is fickle"). Sparafucile's sister, Maddalena, has lured him to the house. Rigoletto and Gilda listen from outside as the Duke flirts with Maddalena. Gilda laments that the Duke is unfaithful; Rigoletto assures her that he is arranging revenge: "Bella figlia dell’amore" ("Beautiful daughter of love").
Rigoletto orders Gilda to put on a man's clothes to prepare to leave for Verona and tells her that he plans to follow later. After she leaves, he completes his bargain with the assassin, who is ready to murder his guest for 20 scudi. Rigoletto then withdraws.
With falling darkness, a thunderstorm approaches and the Duke decides to spend the rest of the night in the house. Sparafucile directs him to the upstairs sleeping quarters, resolving to kill him in his sleep.
Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man and stands outside the house. Maddalena, who is smitten with the Duke, begs Sparafucile to spare his life: "È amabile invero cotal giovinotto/ Ah, più non ragiono!...". Sparafucile reluctantly promises her that if by midnight another victim can be found, he will kill the other instead of the Duke. Gilda, overhearing this exchange, resolves to sacrifice herself for the Duke, and enters the house: "Trio: Se pria ch’abbia il mezzo la notte toccato". Sparafucile stabs her and she collapses, mortally wounded.
At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke, sleepily singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his dying daughter. For a moment, she revives and declares she is glad to die for her beloved: "V'ho ingannato" ("Father, I deceived you"). She dies in his arms. Rigoletto cries out in horror: "La maledizione!" ("The curse!")