Figaro, the count’s valet, forges out plans of revenge against his lord. Although count Almaviva gives up on his right to have the first night of his female subordinates (»ius primae noctis«), he goes after Figaro’s charming bride, Susanna. Figaro, who realises the count’s intention, makes up a schedule of revenge in which he involves Susanna. She is supposed to promise the count a rendezvous. However, the page Cherubino will be there instead, dressed as a woman in her place. Mozart and his librettist, Lorenzo Da Ponte, pick up on an explosive topic of their time in Figaro which is based on the text template of Beaumarchais’ drama. Ponte replaced the libretto social-critical poignancies with delicate ironies. As a consequence the seek und the desire of other worlds und realities and the legitimacy of love are the main topics of the story. With his opera, Mozart composed a musical character drawing, which is shaped by the interaction of interests and desires of the actors. For this, Mozart and Da Ponte not only use established elements of Opera Buffa, but they also cross their typical conventions: Confrontations and intrigues provoke conflicts. Once again this causes closeness and emotionalises human relationships. In Mozart’s subtle psychologised music the figures and their play of confusion of the feelings find a clear reflection.