This is why I recommend using it as a transition to the aria, singing it more cantabile than the preceding lines of recitative. This last line introduces the idea that inspires the aria. Therefore, I believe that Susanna ought to become aware of the seductive aspects of the night after the interlude, rather than during it, and consequently may delay the beginning of the phrase “Oh come par… ”. The preceding orchestral phrase is still in the mood (and key) of the “timide cure” idea. Don’t sing it beautifully! “Oh come par… ” is a new thought: nature itself is conspiring with the lovers.
While the first phrase expresses eagerness, the second expresses impatience- Susanna tells her scruples to get lost. The recitative contains three distinct moods. Here, we are dealing not with ‘subtext’, but with a range of ‘subtexts’. Rather, as she sings, she may simply be remaining open to the wealth of possibilities. Is Susanna singing of her feigned lust for the Count in order to torment Figaro for doubting her fidelity? (This is the intention she expresses immediately before “Giunse alfin”.) Or, is she singing of her genuine love for Figaro under the guise of singing of her feigned lust for the Count? Does her intention change within the scene, or are both intentions present simultaneously? I will not presume to resolve this issue, for I am not even certain that the individual Susanna must resolve it for herself. Giunse alfin… Deh vieni” is distinguished by a fascinating ambiguity.
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