Gioacchino Rossini was born on
29th February 1792, and thus only had a birthday once every four years! He
wrote 40 operas between 1810 and 1829, after which he retired from composing
operas for the remaining 39 years of his life before his death on 13th November
1868.
The Barber of Seville is
probably Rossini's best-known and most often performed opera. It is also an
early example of a "prequel" in that it tells of the events that
preceded those of Mozart's "The Marriage of Figaro", which had been first
performed almost exactly 30 years before Rossini's masterpiece appeared in
February 1816.
Not surprisingly, the two
operas have the same source, namely the trilogy of "Figaro" plays by
Pierre Beaumarchais (1732-1799). However, whereas Mozart based his opera on the
second play, Rossini chose the first. Again not surprisingly, both operas are
light pieces of comic nonsense, with brilliant music that captures the mood of
romantic dalliance, farcical plot twists, and a happy ending for most of the
characters.
Rossini took less than three
weeks to write this opera, which is one reason why the music is so fresh and
sparkling throughout. However, part of the speed is accounted for by the fact
that he chose not to write a new overture, simply re-using one that he had used
twice before!
Act 1. Scene 1. A street
in Seville
Count Almaviva, who is in love
with Rosina, the ward of Dr Bartolo, sings a serenade beneath her balcony. He
is found there by Figaro, the town barber who was previously in service to the
Count, and is recruited to aid him in his quest. (As he enters, Figaro sings
the famous "largo al factotum" to introduce himself and boast of how
much in demand he is). Rosina appears on the balcony. She is not unhappy about
being wooed by the Count, but she is very unhappy with how she is being treated
by Bartolo, who is a tyrant with designs on her property. When she leaves,
Figaro suggests that a way to gain access to the house would be for the Count
to disguise himself as a soldier, supposedly seeking billets for troops. The
Count is happy to pay Figaro for his advice.
Scene 2. In Dr Bartolo's
house
Rosina sings of her wish to
lead her guardian a merry dance, just as Bartolo enters. He has his own plan
for marrying his ward, for which he needs the help of Basilio, the music
teacher. When Figaro enters, Rosina hands him a letter to be delivered to the
Count, but Bartolo is suspicious of what is going on. Rosina manages to fob him
off.
The Count now appears, in the
disguise suggested by Figaro, but apparently roaring drunk into the bargain. He
is able to slip a letter to Rosina, but this time Bartolo sees a piece of paper
in her hand and demands to know what it is. Once again, Rosina is too clever
for him and hands him her laundry list instead. An argument begins between Bartolo
and the disguised Count, and an officer enters to arrest the latter. Bartolo is
convinced that the troublemaker has been safely dealt with, but the Count tells
the officer who he really is, and is released.
Act II. The music room
of Dr Bartolo's house
Count Almaviva enters in a new
disguise, that of singing teacher to Rosina in place of Basilio, who is
supposed to be ill. Bartolo is still suspicious, and insists that, during the
singing lesson, Figaro gives him a shave in the same room. Basilio himself
turns up, but is bribed by the Count to stay silent and leave. The lesson
continues, during which the lovers arrange to elope at midnight. Eventually,
Bartolo's suspicions reach such a pitch that he decides to get the marriage
contract between himself and Rosina drawn up there and then.
With the stage empty, a violent
thunderstorm breaks out. Figaro and the Count enter via the balcony, having
climbed a ladder. The lovers meet and embrace, with Figaro urging them to hurry
down the ladder, as he can hear someone approaching. However, the ladder has
disappeared, and the trio are found by Basilio and a notary, who have the
marriage contract ready to be signed. Basilio, having been bribed once, is
persuaded again by the Count, this time to change the name on the contract and
bear witness to the marriage of Rosina and the Count. Figaro is happy to be the
other witness.
When Bartolo arrives, having
been the person who removed the ladder, he is too late. However, Rosina has no
need for money, now being the Countess, and she is happy enough to give Bartolo
what he wanted all along, namely her property.
© John Welford
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