Changes

As the curtain rises, Figaro is measuring his new apartment while he and Susanna warmly anticipate their coming marriage. Susanna tells Figaro that his boss Count Almaviva has made advances at her, and wishes to reinstate the "feudal right" of noblemen to bed maidens before their wedding night. Figaro vows to beat Almaviva at his own game and departs.

As the curtain rises, Figaro is measuring his new apartment while he and Susanna warmly anticipate their coming marriage. Susanna tells Figaro that his boss Count Almaviva has made advances at her, and wishes to reinstate the "feudal right" of noblemen to bed maidens before their wedding night. Figaro vows to beat Almaviva at his own game and departs.

Bartolo, a doctor whom Figaro had outwitted in ''Barber'', enters with Marcelline, who has hired him to stop the wedding from taking place, wishing to marry Figaro herself. Bartolo is happy to oblige as vengeance for past wrongs. Susanna and Marcellina exchange insults, and Marcellina exits with Bartolo in a huff. Cherubino, a young page who can't control his attraction to all women, especially the Countess Rosina, asks for Susanna's help in assuaging the Count's anger. Just then, the Count enters and Cherubino hides behind a chair. Almaviva tries to convince an unwilling Susanna to sleep with him, but his attempts are humorously derailed by the entrance of Basilio, the morally degenerate music teacher. The Count also hides behind the chair, which Cherubino is forced to abandon at the last moment for the top of the chair, hiding under a dress.

Bartolo, a doctor whom Figaro had outwitted in ''Barber'', enters with Marcelline, who has hired him to stop the wedding from taking place, wishing to marry Figaro herself. Bartolo is happy to oblige as [[vengeance]] for past wrongs. Susanna and Marcellina exchange insults, and Marcellina exits with Bartolo in a huff. Cherubino, a young page who can't control his attraction to all women, especially the Countess Rosina, asks for Susanna's help in assuaging the Count's anger. Just then, the Count enters and Cherubino hides behind a chair. Almaviva tries to convince an unwilling Susanna to sleep with him, but his attempts are humorously derailed by the entrance of Basilio, the morally degenerate music teacher. The Count also hides behind the chair, which Cherubino is forced to abandon at the last moment for the top of the chair, hiding under a dress.

Basilio begins gossiping about Cherubino's obvious attraction to the Countess, at which the Count angrily comes out of hiding. He discovers Cherubino hiding by lifting up the dress, and just as that moment Cherubino is saved by the entrance of Figaro and the peasants. Figaro praises the Count excessively for his enlightement in rescinding the feudal right, and in front of his subjects Almaviva is forced to uphold the rescinsion, but refuses to make a formal gesture promising to leave Susanna alone. He then gives Cherubino a military dispatch as a means of punishment, and Figaro closes the act by teasing Cherubino.

Basilio begins gossiping about Cherubino's obvious attraction to the Countess, at which the Count angrily comes out of hiding. He discovers Cherubino hiding by lifting up the dress, and just as that moment Cherubino is saved by the entrance of Figaro and the peasants. Figaro praises the Count excessively for his enlightement in rescinding the feudal right, and in front of his subjects Almaviva is forced to uphold the rescinsion, but refuses to make a formal gesture promising to leave Susanna alone. He then gives Cherubino a military dispatch as a means of punishment, and Figaro closes the act by teasing Cherubino.