In the opening duet of Mozart’s Le nozze di Figaro, Figaro makes Freudian errors in counting and in singing. Susanna, needing emotional support and sensitive to Figaro’s psychology, directs his therapy in a manner both manipulative and helpful.
The brief scene is paradigmatic for the opera as a whole, and the duet’s dramatic action is projected by the music at every level, from small details to aspects of global structure.
This according to “Figaro’s mistakes” by David Lewin (Current musicology 57 [spring 1995] pp. 45–60).