Basilio is looking for the Count on behalf of Figaro, but Susanna tells him off. The Count starts to hit on Susanna, asking her to meet him in the garden at dusk, when Basilio's voice is heard outside, so the Count goes to hide.in the same spot as Cherubino! The youngster slips around the front of a chair, and Susanna throws a dress over him. Povero Cherubino's adolescent aching is interrupted by the Count's arrival. Pamela Helen Stephen is girl crazy singing “Non so più cosa son“ from the South Bank Centre in London in summer 1993 “You want to dance, buddy, ok, let's dance“. Susanna leaves to help the Countess, and Figaro sings his response to the Count’s plans, “Se vuol ballare“, foreshadowing centuries of machismo. (This feudal right of a lord to sleep with his subject’s bride on her wedding night was not a thing in Mozart’s time, nor did it likely ever exist as established law.) The Count, Susanna says, is regretting abolishing *le droit du seigneur* and plans on reinstating it-with her. Even her singing teacher, Don Basilio, is in on it, urging her to remain open to the advances. Figaro is shocked at this slander until Susanna tells him that lately, the Count has tired of chasing skirts far from home and is instead trying his luck at home, specifically with her skirts. Susanna replies that she would also be “three jumps“ away from the Count while Figaro runs errands.
Susanna wants none of this “generosity,” as the room lies between the Count's on one side, and the Countess's, on the other.įigaro can’t understand why his fiancée wouldn’t want to be “two steps“ away from Madame if she rang at night. When she asks what he's doing, Figaro says the Count has generously offered to let them live in the room after they’re married. He is measuring the floor of the servants' room to see if a bed will fit she is trying on a hat she made for her wedding outfit. The Count’s gardener, Susanna’s uncle, and a close observer of castle windows.
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