Figaro went well! Kudos to my colleagues, and many thanks to all who came.
In every piece of music you rehearse, there comes a time by which the music is going round and round in your head nonstop: on the bus, down the aisles of the supermarket, and
especially when you're trying to get to sleep.
But this time it was
Figaro, and
Figaro turns that phenomenon up to 11. Suddenly the earworm in your head has the volume and clarity of a million-dollar sound system
that you can't turn off. There isn't a hope of getting rid of it, so you just live with a skull full of blasting Mozart.
There are two good points to this situation: one is that you get to know the opera really well, whether you want to or not. The other is subtler: this is the closest we'll ever get to knowing what it felt like to be Mozart. If his music occupies our every waking moment and won't leave us alone, how must
he have felt? Did the music resound in his head with the same painful clarity, the same insistence, never letting him rest till he wrote it down? If so, he must never have needed to cast about for ideas; they'd have come thronging, clamouring to be let out.
If Mozart had lived a normal lifespan for his time and social class, most of what we have of his today would be known as "early Mozart".
My teacher once said that when you memorise music, you're actually composing it again in your head. I think he was right about this.
There's a bit in the Act II Finale (about 1.40 to 2.20
here) that made our Cherubino (offstage at the time) grin madly and wave her legs in the air. I think she was right about this too.