Mozart set to work on “Figaro” in 1785, having at this date been ordered by the Emperor Joseph to write an opera for Vienna. Da Ponte was again the librettist, founding his text on Beaumarchais’ famous comedy, “Le Mariage de Figaro,” which had lately been creating a stir in Paris. The opera has no regular, well-defined plot. It is rather a succession of awkward and humourous situations, calling forth an abundance of sparkling repartee. The imbroglio is “often exceedingly difficult”; but while not easy to make clear in writing, it is easy enough to follow on the stage.