Rosina, ward of Dr. Bartolo.
Berta.
Figaro, the barber.
Count Almaviva, lover of Rosina.
Dr. Bartolo.
Basilio, a music-master.
[Officers, soldiers, etc.]
The scene is laid in Seville; time, the eighteenth century.
The story and the music of "The Barber of Seville" are as fresh and
delightful as when the opera was first produced eighty-six years ago. Its
story is almost as familiar as household words, and no music has been
more popular on the operatic stage than its gay, brilliant arias. Count
Almaviva loves Rosina, the ward of Dr. Bartolo, who wishes to marry her
himself, but the Count is unable to get an interview with her until it is
arranged for by Figaro, the factotum of the place. In spite of Bartolo's
watchfulness, as well as that of Don Basilio, her music-teacher, who is
only too willing to serve Bartolo, she succeeds in writing to the Count
and telling him that his love is returned. With Figaro's help the Count
gets into the house disguised as a drunken dragoon, but is promptly
arrested. The next time he secures admission as a music-teacher upon the
pretence that Don Basilio is sick, and has sent him to give Rosina her
lesson. He further hoodwinks Bartolo by producing the letter Rosina had
written to himself, and promises to persuade her that the letter has been
given him by a mistress of the Count, which will break the connection
between the two. He secures the coveted interview, and an elopement is
planned. The unexpected appearance of Don Basilio, however, upsets the
arrangements, and the disconcerted lover makes good his escape. In the
mean time Bartolo, who has the letter, shows it to his ward and arouses
her jealousy. She thereupon promises to marry her guardian. At the time
set for the elopement, the Count and Figaro arrive. A reconciliation is
speedily effected, and the Count and Rosina are married just as Bartolo
makes his appearance with officers to arrest the Count. After mutual
explanations, however, all ends happily.
The opera opens, after a short chorus, with the Count's serenade, "Lo,
smiling in the Orient Sky" ("Ecco ridente in cielo"), one of the most
beautiful numbers in the opera. In the second scene Figaro sings the
lively and well-known buffo aria, "Make Room for the Factotum" ("Largo al
factotum"). A light and lively duet between Figaro and the Count leads up
to the chamber aria of Rosina, "The Voice I heard just now" ("Una voce
poco fa"), which is not only very expressive but remarkably rich in
ornamentation. In the next scene occurs the calumny aria, "Oh! Calumny is
like the Sigh" ("La Calunnia è un venticello"). It is followed by a
florid duet and a dialogue between Rosina and Bartolo, closing with the
bass aria, "No longer conceal the Truth" ("Non piu tacete"). The finale
is composed of three scenes full of glittering dialogue and melodious
passages.
The second act opens with a soliloquy by Bartolo, interrupted by a duet
with the Count. The music-lesson scene follows in which the artist
personating Rosina is given an opportunity for interpolation. In the next
scene occurs a dialogue quintette, which is followed by a long aria for
Bertha, "There is always Noise" ("Sempre gridi"), which the Italians
called the "aria de sorbetto," as they used to eat ices while it was
sung. In the eighth scene, after a long recitative, an instrumental
prelude occurs, representing a stormy night, followed by recitative in
which the Count reveals himself, leading up to a florid trio, and this in
turn to the elegant terzetto, "Softly, softly, no Delay" ("Zitti, zitti,
piano, piano"). A bravura and finale of light, graceful melody close the
opera.