Susanna slips Into an alcove. While the Count is
plying his wife with angry questions, Cherubino clumsily knocks over a
chair. The Count hears the noise, and quickly jumps to the conclusion
that the page is hiding in the inner room. The Countess denies
everything and refuses to give up the key, whereupon the Count drags her
off with him to get an axe to break in the door. Meanwhile Susanna
liberates Cherubino, and takes his place in the inner room, while the
latter escapes by jumping down into the garden. When the Count finally
opens the door and discovers only Susanna within, his rage is turned to
mortification, and he is forced to sue for pardon. The Countess is
triumphant, but a change is given to the position of affairs by the
appearance of Antonio, the gardener, who comes to complain that his
flowers have been destroyed by someone jumping on them from the window.
The Count's jealous fears are returning, but Figaro allays them by
declaring that he is the culprit, and that he made his escape by the
window in order to avoid the Count's anger. Antonio then produces a
paper which he found dropped among the flowers. This proves to be
Cherubino's commission. Once more the secret is nearly out, but Figaro
saves the situation by declaring that the page gave it to him to get the
seal affixed. The Countess and Susanna are beginning to congratulate
themselves on their escape, when another diversion is created by the
entrance of Marcellina, the Countess's old duenna, and Bartolo, her
ex-guardian. Marcellina has received a promise in writing from Figaro
that he will marry her if he fails to pay a sum of money which he owes
her by a certain date, and she comes to claim her bridegroom. The Count
is delighted at this new development, and promises Marcellina that she
shall get her rights.

The second act (according to the original arrangement) is mainly devoted
to clearing up the various difficulties. Figaro turns out to be the
long-lost son of Marcellina and Bartolo, so the great impediment to his
marriage is effectually removed, and by the happy plan of a disguise the
Countess takes Susanna's place at the assignation, and receives the
ardent declarations of her husband. When the Count discovers his mistake
he is thoroughly ashamed of himself, and his vows of amendment bring the
piece to a happy conclusion.

It seems hardly possible to write critically of the music of 'Le Nozze
di Figaro,' Mozart had in a superabundant degree that