How is drama created in the Overture of Marriage Of Figaro?

Mozart has cleverly interweaved an overwhelming sense of drama into the

Marriage of Figaro overture. Through a range of musical elements, rhythmic
and melodic, he lures the audience in and prepares them before the opera
commences. At the time this was written and performed, the overture would not
only let a generally noisy, rude audience know that the opera was about to begin
but to eventually hush them.
The beginning of the overture is of a ‘pp’ dynamic and introduces the first of
three themes in the first subject. The music opens with presto, hushed, agitated,
quavers rocking between the tonic and leading note of the scale, this adds
dissonance and some chromaticism which contributes to the nervous, uneasy
feel. Crotchet rests among oscillating quavers allow a brief moment for the
listener to fully notice the beginning of an intense build up. Octave and
rhythmic unison are features within this theme, they create a homophonic
texture without any harmony and are direct, implying that this nervousness is all
encompassing. The motivic use of a semitone develops a suspicious, uncertain
and mysterious sense, suggestive that not all is as it seems.
The second theme loses the violins (the leading instrument in this orchestra) and
the listener is calmed though a short, divisi, antiphonic exchange between the
oboes and the flutes. Divisi creates a richer, thicker texture and the rising
arpeggio sequence hints at hunting horns with a military feel. Slurs create legato
and lure the audience into a false sense of security, the two instruments are
seamlessly integrated and harmonies are developed. The subtle dynamic
change, from ‘pp’ to ‘p’ hints at a rise in tension, however the listener is
shocked and awakened when the unpredictable tutti moment transfers from the
second to the third theme.
The final theme (bars 29 to 34) explodes into a pushed, descending, major
sequence with four main repeated notes and demi-semi quaver flourishes on the
violin alluding to female beauty and delicacy. The pedal, on D, played by
double bass’ and cellos reinforces the tonic key whilst reflecting marriage and a
sense that things are grounded. Coming to an abrupt end, theme A, B and C then
repeat and the transition follows.
The transition, from bars 35 to 58, provides the modulation from the tonic (D
major) to the dominant (A major). The lively rush of a rising scalic sequence
and semi quaver pedal (played by the lower string section) on the dominant
establishes extreme excitement whilst mirroring the heightened anxiety.
Constant agitation comes from the rhythmic vitality, consistently pushing
forward throughout, it also highlights any themes that don’t have semiquavers
underpinning it, eg. Theme B. Mozart’s use of terraced dynamics in this
section- giving and then taking away- captivate the audience and their attention
successfully remains. In bar 41, the timpani plays a dotted rhythm which
acquires a military sound, this could reflect that a significant moment is about to
come, we soon learn that this is the modulation. A D major descending scale at
bar 49 is played by most of the orchestra, perhaps emulating wedding bells.

The second subject commences, in the dominant key of A major, and the music
has reduced to only the second violin and viola. After one bar, the tension
begins to build as first violins join, creating a counter melody and construct
stuttered, fearful dotted rhythms (along with the previous instruments). Oboes
quietly flourish with a descending major sequence followed by flutes imitating
the same flourish in harmony, this implies that the paralysing sense of agitation
has returned and that an even more significant build up is soon to occur. This
theme repeats again and is then contrasted with another tutti moment on beat 3
of bar 75.
Bars 75-81 have conflicting, alternate dynamics (‘f’ and ‘p’) building a jolted,
disjunct feel. Punctual tutti moments every other bar are connected with a short
arpeggio sequence and take the music through E minor and D minor, falling
stepwise until the dominant. This falling motion could be suggestive of a loss of
control of nervousness. A rising sequence played by woodwind (at bar 81) adds
to the tension before another stepwise repeated sequence emerges. It’s use of an
appoggiatura not only contributes to the developing strain but links the music
back to the beginning by suggesting mystery and possibly looming doom.
Bassoons play a comical countermelody (at bar 101), in their higher register
with staccato.
The codetta (ending the exposition) is gentle and fully major, finally creating
peace and serenity for the listener. It is yet again in the dominant key of A
major and is established by pedal notes. A roll on the timpani highlights
rhythmic displacement (at bar 133) before an impressive declining scalic
melody brings the music back to the tonic of D major.
The recapitulation (at bar 139) is exactly the same as the first and second
subject with some slight changes. For example, at bar 161 a string section
suggests E minor (accidentals) for 3 bars before resolving to the dominant, with
the flute and oboe playing a descending sequence, similar to material in the
second subject.