Francesco Benucci: Mozart’s Inspiration for Figaro

 

It is quite possible that Mozart would never have written “The Marriage of Figaro” had he not been inspired by two great comic singers working in Vienna: the sprightly Nancy Storace, who would create the role of Susanna; the other was Francesco Benucci, the best buffo bass in Europe, who would create the title role of Figaro.  These superstars were almost surely his models.

Benucci and Storace were an inseparable team throughout their working lives. In 1783, although they were under contract in the same theater in Venice, the pair allowed themselves to be lured away to sing in Emperor Joseph II’s new buffa company in Vienna. The newly- assembled troupe was brilliant and the money was very, very good.

Mozart, who had moved to Vienna from Salzburg, heard the basso sing that same year, and wrote an enthusiastic letter to his father about him. The composer’s his creative wheels began a-turning: he started writing an opera with Benucci’s voice and stage presence in mind; however his plans went awry, and the project was abandoned

.Meanwhile, Benucci was stealing the show in operas by Salieri, Stephen Storace (Nancy’s brother), and Martín y Soler. The Benucci-Storace duo was also working the private salon circuit, each accompanying the other at the keyboard; a charming onstage picture and a testament to their all-around musicianship.

But the best was yet to come. Benucci would appear in all three of the sublime Mozart/Da Ponte operas beginning with Le Nozze di Figaro in 1786.

The tenor Michael Kelly describes the scene in which Benucci first sang the show’s big hit tune “Non piu andrai, farfallone amoroso” in an orchestral rehearsal:

“…when Benucci came to the fine passage ‘Cherubino, alla vittoria, alla gloria militar,’ which he gave out with stentorian lungs, the effect was electricity itself, for the whole of the performers onstage and those in the orchestra, as if actuated by one feeling of delight, vociferated ‘Bravo! Bravo Maestro! Viva! Viva grande Mozart!’”

In my novel “The Murder of Figaro,” Benucci has almost nothing to do but perform brilliantly as Figaro. Mozart and Da Ponte do speculate what Benucci might do if the above-mention famous aria were to be cut out by the Imperial Censor: murder, to be exact. And cannibalism.

In his real life there is no record of any scandals or marriages or big romances in his life, either with women or with men. And certainly no hint of mayhem or man-eating.

When Don Giovanni premiered in Prague in 1787, Benucci took the role of Leporello, bringing the scabrous Catalog Aria to life for the first time, whipping the audiences into a frenzy. For the Vienna premiere, Mozart wrote an extra comic duet for him and Luisa Laschi in the role of Zerlina ((who as you recall, created the role of Contessa Almaviva in “Figaro.” Think about that, all you light lyric sopranos!). This duet is usually cut today; but I have seen it done, and it’s pretty shocking, involving as it does, another side of dear sweet lamblike little Zerlina, who ties Leporello to a chair and promises to shave him and then cut out his heart and his eyes with a razor. This is a symbolic castration scene pure and simple:  Zerlina, raped by Don Giovanni, is heard threatening a helpless man and vowing to take bloody vengeance on him and all men. In C Major.

In 1790 Benucci created the role of Guglielmo in Cosí fan Tutte in Vienna; singing that role’s heavenly ensembles, and the sarcastically gooey-sweet First Act and darkly-bitter Second act arias. Mozart wrote him a third aria also, “Rivolgete a lui lo sguardo,” which was cut from the show for dramatic reasons. It is sung only as a concert aria today.

I am sorry that I have no gossip to spill about Benucci. He seemed completely wedded to his craft. He was the best. He was beloved.   He sang until he retired, moved back to his natal city of Livorno, and died in 1824.