Everything appears to be cleared up when _Marcellina_, accompanied by _Bartolo_, comes to lodge formal complaint against _Figaro_ for breach of promise, which for the _Count_ is a much desired pretext to refuse again his consent to _Figaro's_ wedding with _Susanna_. These, the culminating episodes of this act, form a finale which is justly admired, a finale so gradually developed and so skilfully evolved that, although only the principals participate in it, it is as effective as if it employed a full ensemble of soloists, chorus, and orchestra worked up in the most elaborate fashion. Indeed, for effectiveness produced by simple means, the operas of Mozart are models.
But to return to the story. At the trial in Act III, between _Marcellina_ and _Figaro_, it develops that _Figaro_ is her long-lost natural son. _Susanna_ pays the costs of the trial and nothing now seems to stand in the way of her union with _Figaro_. The _Count_, however, is not yet entirely cured of his fickle fancies. So the _Countess_ and _Susanna_ hit upon still another scheme in this play of complications. During the wedding festivities _Susanna_ is to contrive to send secretly to the _Count_ a note, in which she invites him to meet her. Then the _Countess_, dressed in _Susanna's_ clothes, is to meet him at the place named. _Figaro_ knows nothing of this plan. Chancing to find out about the note, he too becomes jealous--another, though minor, contribution to the mix-up of emotions. In this act the concoction of the letter by the _Countess_ and _Susanna_ is the basis of the most beautiful vocal number in the opera, the "letter duet" or Canzonetta sull'aria (the "Canzonetta of the Zephyr")--"Che soave zeffiretto" (Hither gentle zephyr); an exquisite melody, in which the lady dictates, the maid writes down, and the voices of both blend in comment.
The final Act brings about the desired result after a series of amusing _contretemps_ in the garden. The _Count_ sinks on his knees before his _Countess_ and, as the curtain falls, there is reason to hope that he is prepared to mend his ways.
Regarding the early performances of "Figaro" in this country, these early performances were given "with Mozart's music, but adapted by Henry Rowley Bishop." When I was a boy, a humorous way of commenting upon an artistic sacrilege was to exclaim: "Ah! Mozart improved by Bishop!" I presume the phrase came down from these early representations of "The Marriage of Figaro." Bishop was the composer of "Home, Sweet Home." In 1839 his wife eloped with Bochsa, the harp virtuoso, afterwards settled in New York, and for many years sang in concert and taught under the name of Mme. Anna Bishop.