The air “Non piu andrai,” in which this is done, is in vigorous march rhythm.  Benucci, the original Figaro in Vienna, had a superbly sonorous voice, and Michael Kelly, the English tenor (who sang the two roles of Don Basilio and Don Curzio), tells us how thrillingly he sang the song at the first rehearsal with the full band.  Mozart was on the stage in a crimson pelisse and cocked hat trimmed with gold lace, giving the time to the orchestra.  Figaro gave the song with the greatest animation and power of voice.  “I was standing close to Mozart,” says Kelly, “who, sotto voce, was repeating:  ‘Bravo, bravo, Benucci!’ and 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 on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated:  ’Bravo, bravo, maestro!  Viva, viva, grande Mozart!’ Those in the orchestra I thought would never have ceased applauding by beating the bows of their violins against the music desks.  The little man acknowledged by repeated obeisances his thanks for the distinguished mark of enthusiastic applause bestowed upon him.”

This ends the first act.  At the opening of the second the Countess asks our sympathy because of the unhappiness caused by her errant husband. (Cavatina:  “Porgi amor.”) She prays the god of love to restore her to his affections.  Susanna entering, the Countess asks her to continue her tale of the Count’s pursuit of her.  There is nothing to add, says the maid; the Count wooed as noblemen woo women of her class—­with money.  Figaro appears to tell that the Count is aiding Marcellina in her scheme and of the trick which he has devised to circumvent him.  He had sent Basilio to his lordship with a letter warning him that the Countess had made an appointment to meet a lover at the ball to be given in the evening.  This would fan the fires of his jealousy and so enrage him that he would forget his designs against Susanna until she was safely married, when he would discover that he had been outwitted.  In the meantime, while he is reflecting on the fact that two could play at the game, Susanna is to apprise the Count that she will meet him in the garden in the evening.  Cherubino, whose departure to Seville had been delayed for the purpose, is to meet the Count disguised as Susanna, and the Countess, appearing on the scene, is to unmask him.  The Count is supposed to have gone a-hunting, and the plotters have two hours for preparation.  Figaro leaves them to find Cherubino, that he may be put into petticoats.  When the page comes, the Countess first insists on hearing the song which he had given to Susanna, and Cherubino, stammering and blushing at first, sings it to Susanna’s guitar.  (Canzone:  “Voi che sapete.”) Again I call upon Otto Jahn for a description of the music.  “Cherubino is not here directly expressing his feelings; he is