But, on the whole, the overture does not ask for analysis or
interpretation; it is satisfied to express untrammelled joy in
existence.

The curtain is withdrawn, and we discover the lovers preparing for
their wedding. Figaro is taking the dimensions of a room, and the
first motive of a duet illustrates his measured paces; Susanna is
trimming a hat, and her happiness and her complacent satisfaction
with her handiwork are published in the second motive, whose
innocent joy explodes in scintillant semi-quavers in the fiddles
at the third measure. His labors ended, Figaro joins Susanna in
her utterances of joy. But there is a fly in the ointment, Why has
Figaro been so busily measuring the room? To test its fitness as
their chamber, for the Count has assigned it to them, though it is
one of the best rooms in the palace. He points out its convenient
location (duet: "Se a caso madama"); so near the room of the
Countess that her maid can easily answer the "din din" of her bell,
and near enough to the room of the Count that his "don don" would
never sound in vain should he wish to send his valet on an errand.
Altogether too convenient, explains Susanna; some fine day the
Count's "don don" might mean a three-mile journey for the valet,
and then the devil would fetch the dear Count to her side in three
paces. Has he not been making love violently to her for a space,
sending Don Basilio to give her singing lessons and to urge her to
accept his suit? Did Figaro imagine it was because of his own pretty
face that the Count had promised her so handsome a dowry? Figaro had
pressed such a flattering unction to his soul, but now recalls, with
not a little jealous perturbation, that the Count had planned to
take him with him to London, where he was to go on a mission of
state: "He as ambassador, Figaro as a courier, and Susanna as