Non più andrai
"" (You shall go no more) is an aria for bass from Mozart's 1786 opera "The Marriage of Figaro", K. 492. The Italian libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, "La folle journée, ou le Mariage de Figaro" (1784). It is sung by Figaro at the end of the first act.
Pierre Beaumarchais
Beaumarchais's Figaro plays are "Le Barbier de Séville", "Le Mariage de Figaro", and "La Mère coupable". Figaro and Count Almaviva, the two characters Beaumarchais most likely conceived in his travels in Spain, were (with Rosine, later the Countess Almaviva) the only ones present in all three plays. They are indicative of the change in social attitudes before, during, and after the French Revolution. Figaro and Almaviva first appeared in "Le Sacristain", which he wrote around 1765 and dubbed "an interlude, imitating the Spanish style." Naturally, this thinly veiled government criticism did not go without opposition. Upon first reading a manuscript of Beaumarchais's play, King Louis XVI stated that "this man mocks everything that must be respected in a government" and refused to let it be performed.
To a lesser degree, the Figaro plays are semi-autobiographical. Don Guzman Brid'oison ("Le Mariage") and Bégearss ("La Mère") were caricatures of two of Beaumarchais's real-life adversaries, Goezman and Bergasse. The page Chérubin ("Le Mariage") resembled the youthful Beaumarchais, who did contemplate suicide when his love was to marry another. Suzanne, the heroine of "Le Mariage" and "La Mère", was modelled after Beaumarchais's third wife, Marie-Thérèse de Willer-Mawlaz. Meanwhile, some of the Count monologues reflect on the playwright's remorse over his numerous sexual exploits.