Opera Guide and Synopsis: The Barber of Seville, by Gioachino Rossini

Gioachino Rossini composed Il barbiere di Siviglia (The Barber of Seville) in a mere thirteen days. The libretto was adapted by Cesare Sterbini from Beaumarchais's comedy Le Barbier de Séville. The play's sequel, The Marriage of Figaro, had been set to music by Mozart in 1786, and the Italian composer Paisiello had already composed a version of The Barber of Seville, and so Rossini was somewhat nervous about composing his own version. He titled his opera Almaviva, or the Vain Precaution instead of The Barber of Seville. The opera's February 6, 1816 premiere received jeers from the audience, but subsequent performances were more successful, and its fame has eclipsed that of Paisiello's Barber of Seville.

Characters in The Barber of Seville

• Count Almaviva, a nobleman (Tenor)
• Rosina, Bartolo's ward (Mezzo-soprano or Contralto)
• Bartolo, Rosina's guardian (Bass)
• Figaro, a barber (Baritone)
• Basilio, a music teacher (Bass)
• Berta, Bartolo's servant (Soprano)
• Fiorello, Almaviva's servant (Bass)

Synopsis of The Barber of Seville

Act I

In the early morning, Count Almaviva serenades Rosina outside her window in Bartolo's house, but once again he does not see her. Figaro enters with the famous "Largo al factotum" aria, saying how his services as a barber are constantly in demand. He recognizes the Count, who tells Figaro that he wishes for his identity as a nobleman to remain secret. Figaro explains that Bartolo wishes to marry his ward Rosina and so keeps her shut in the house, away from other men's attention.

Rosina appears on her balcony with a letter for Almaviva, but Bartolo sees the paper and interrogates her. She claims it is an aria from the opera The Vain Precaution, and "accidentally" lets it drop. Almaviva recovers the letter and hides while Bartolo searches in vain for it. In her letter, Rosina asks Almaviva to find some way, without arousing Bartolo's suspicions, to tell her his name, rank, and intentions. He gives his name as Lindoro.

Almaviva enlists Figaro's help to come up with an ingenius plan to meet Rosina, in exchange for as much gold as Figaro could want. Figaro's plan is for Almaviva to disguise himself as a drunk soldier and demand lodging in Bartolo's house.

Inside Bartolo's house, Rosina sings the virtuosic aria "Una voce poco fà," in which she pledges herself to Lindoro. She writes a letter to give Figaro for Lindoro. Figaro enters with a message, but they hear Bartolo coming. Figaro hides and Rosina leaves.

Bartolo and Basilio enter. Bartolo says that he wishes to marry Rosina the next day, and Basilio warns that Count Almaviva has been courting Rosina. They plan to get rid of him, then leave.

Rosina and Figaro return, and he warns her of the plan. Figaro explains his plan to sneak Lindoro into the house. He leaves to deliver her letter, and Bartolo enters, suspicious that Figaro has delivered a reply to Rosina's "lost aria." He interrogates her about a missing sheet of paper and an ink stain on her finger, but she invents excuses.

The Count enters, disguised as a drunk soldier. Unfortunately, Bartolo is exempt from quartering soldiers. The resulting commotion attracts an officer who threatens to arrest Almaviva until he quietly reveals his rank. Everyone expresses their confusion.

Act II

Bartolo suspects that the soldier was really Almaviva - who arrives again, this time in disguise as Don Alonzo, Basilio's student who will teach Rosina's singing lesson while Basilio is ill. Almaviva manages to allay Bartolo's suspicions by giving him Rosina's letter, which he claims he found in Count Almaviva's house.

Rosina sings an aria from The Vain Precaution. Bartolo is unimpressed by this "modern" music and sings an older song, but catches Figaro imitating him. Figaro has arrived to give Bartolo a shave in order to get him away from the lovers. Basilio enters, but Figaro manages to convince him (by way of money) that he is ill. Almaviva and Rosina plan to elope at midnight. Bartolo realizes the deception and drives them away, then sends for Basilio.

Bartolo shows Rosina the letter and manages to convince her that Lindoro is false, and is working for the Count Almaviva. She attacks him for his lies when he arrives, but he quickly reassures her that he is Almaviva. They attempt to escape, but find that their ladder is missing. Figaro, thinking on his feet, comes up with a new plan: convincing the notary (whom Bartolo has just brought) to draw up a marriage contract between Almaviva and Rosina instead.

When Bartolo discovers the deception, Almaviva promises to pay him Rosina's dowry. He is satisfied, and they are all happy.

Sources

Melitz, Leo, trans. Richard Salinger. The Opera Goers' Complete Guide. New York: Dodd, Mead & Co., 1921.

Newman, Ernest. Stories of the Great Operas and Their Composers. Garden City: Garden City Publishing Co., Inc., 1930.