The work:
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Le Nozze di Figaro ossia la folle giornata (KV 492)
Dramma giocoso in quattro atti
(Burgtheater Vienna, 1-May-1786)
(The Marriage of Figaro)
by Wolfgang Amadeus Mozart
(*27-Jan-1756 Salzburg, +5-Dec-1791 Vienna)

Libretto by Lorenzo da Ponte (Emanuele Conegliano)
(*10-Mar-1749 Ceneda, +17-Aug-1838 New York)

based on the comedy "Le mariage de Figaro" (Paris, 1784) by
Beaumarchais (Pierre Augustin Caron)
(*24-Jan-1732 Paris, +19-May-1799 Paris)

Transcribed from G. Ricordi & C. Editori, Milano 1985
by Michael Bednarek [mb@doh.health.nsw.gov.au]

Background:
-----------
The score I used is much more than a piano excerpt; in fact, I'm convinced
that some parts are unplayable: it really is a condensed orchestral score.

I transcribed these pieces for the pleasure of seeing W.A. Mozart at work and,
my own practical instrumental skills being limited, making the sounds come
to live. I'm grateful to the author of "Mozart", a notation program like no
other in its very pleasing method of using the computer keyboard economically
to enter a musical score.

The piece:
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Recitativo ed Aria - No.17: "Vedrņ mentr'io sospiro" (Basso)
Atto III. Seguito della scena III.

The Count overheard Susanna whispering to Figaro that the law suit (which would
force Figaro to marry Marcellina) is already won. The Count gets angry and
swears revenge.

As with most pieces I did for "Nozze", the orchestra is here represented by
MIDI instrument 49 "String Ensemble 1", the Count is 58 "Trombone". Spatial
orientation has the Count a bit left, high strings far left, low strings
far right.

Details:
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It is very difficult to make a recitativo sound convincing when played through
MIDI, so there are a lot of tempo changes. See also Nos 19, 26 and especially
27.

The two quarter notes (crotchets) on beat three and four in bar three are
really one half note (minim) with a sf/p.

Bar nine is really half notes (minims) with double-beams (what's the name for
this?), but because of tempo changes can't be written like that. Bars 151 to
154 are similar.

The first of the pair of 32nd notes (demisemiquavers) in bars 17 to 20 and the
first of a group of four 16th notes (semiquavers) in bars 30ff and 35ff are
grace notes. The bass in bar 43 an 50 is a trill, or rather a timpani roll.
The trills in bars 55ff are written explicitly and marked with "tr".
The slight tempo increase in bar 56 is my idea; it's there to convey the
Count's growing anger.

There's a slight ritardando and a tenuto on the last note.

I am grateful for notification of any mistakes I may have made, or just for a
brief email from anyone who used this file.