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Il barbiere di Siviglia is a hit comic opera presented in two acts by Gioacchino Rossini with a libretto by Cesare Sterbini. The opera is based on Beaumarchais's comedy Le Barbier de Séville. The première of the opera was done under the title Almaviva, on 20 February 1816, at the Teatro Argentina, Rome. The play is considered as the greatest opera buffa, based on Opera America statistics. It is the the fifth most performed opera in North America. Rossini's work has stood the test of time and primely continues to be a mainstay of the operatic repertoire.
This opera complies the first of the plays from the Figaro trilogy written by French playwright Pierre Augustin Caron de Beaumarchais. The original Beaumarchais version was premiered in 1775, in Paris at the Comédie Française at the Tuileries Palace.
Rossini is famous for his speedy work at composition, and faithful to his style. The whole music for Il Barbiere di Siviglia was completed in less than three weeks; though the famous music was actually acquired from a prior Rossini opera, Aureliano in Palmira. Barbiere was premiered on February 20th, 1816, but unfortunately led to disastrous failure. The audience booed and jeered throughout the show along with several on-stage accidents. The second performance, however, became a roaring success. It is interesting to note that the original French play of Le Barbier de Seville survived a similar history , hated at first only to become a hit shorty after.
Show Biography - Ii Barbiere Di Siviglia
The opera is set at Seville, Spain in the seventeenth century. In Act I, Almaviva pleases Rosina in front of Bartolo's house who desires to marry for her fortune. Figaro, who is servent of count, comes there singing. He was requested by the count to assist in pleasing and meeting Rosina. Figaro counsels the Count to disguise himself as a soldier and by pretending drunk, gain entrance to the house. Figaro is richly rewarded for this. In next scene, in Chamber of Dr. Bartolo. Rosina writes to the Count as she knows him by name Lindoro. She is leaving the room when Bartolo and Basilio arrive.after they left, Rosina and Figaro enter. FIgaro asks Rosina for a few words for Lindoro, which she has already written. Surprised by Bartolo, she manages to fritter him, but he is still wary. When the stage is empty, Berta attempts to leave, but confronted by the Count disguised as an drunk soldier. She runs to Bartolo for protection, being in fear of the drunken man: Bartolo tries to remove the supposed soldier, but fails. The Count anyhow, sees Rosina, whispers that he is Lindoro, gives her a letter, and she hands the watching Bartolo the list of the wash. Arguments starts between Bartolo and the Count. When Basilio, Figaro and Berta disappear, the dissonance attracts the watch. Bartolo thinks that the Count has been arrested, but Almaviva cites his name to the officer and is released. Bartolo and Basilio are amazed, and Rosina makes fun of them.
In Act II, Almaviva again appears at Bartolo's house, masked as a singing tutor, and acting as replacement for the supposedly unwell Basilio, who is teacher of Rosina. Bartolo is initially doubtful and only permits Almaviva in when the Count hands over Bartolo Rosina's letter and informs of his plan to disgrace Lindoro. He will show Lindoro as a servant of the Count, engrossed in pursuing women for his lordship. Thinking he may not get privacy with Rosina, the doctor has himself shaved by Figaro. When Basilio suddenly comes he is bribed by Almaviva, to pretend sick. Finally Bartolo learns the trick, drives everybody out of the room, and runs to a notary to draw up the marriage contract between himself and Rosina. He also shows Rosina the letter she gave to "Lindoro," and persuade her that Lindoro is just a servant of Almaviva. Then appear the Count and Figaro entering through a window. Rosina shows Almaviva the letter and expresses her feelings of perfidy and heartbreak. Almaviva unfolds his identity and the two patch up. While Almaviva and Rosina are ecstatic by one another, Figaro forces them to leave. After hearing two people coming, they try to leave via the ladder but found it removed. The two are Basilio and the notary. Basilio is given the options of accepting a bribe and being a witness, or receiving two bullets in the head. He and Figaro witness the marriage contract between the Count and Rosina. Bartolo arrives there, but is too late. The baffled Bartolo is pacified by being allowed to retain Rosina's dowry.
All in all, the opera is funny throughout and stirs up great laugh. The stage set ups and lighting make the audiences feel in 17th century.
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The opera is set at Seville, Spain in the seventeenth century. In Act I, Almaviva pleases Rosina in front of Bartolo's house who desires to marry for her fortune. Figaro, who is servent of count, comes there singing. He was requested by the count to assist in pleasing and meeting Rosina. Figaro counsels the Count to disguise himself as a soldier and by pretending drunk, gain entrance to the house. Figaro is richly rewarded for this. In next scene, in Chamber of Dr. Bartolo. Rosina writes to the Count as she knows him by name Lindoro. She is leaving the room when Bartolo and Basilio arrive.after they left, Rosina and Figaro enter. FIgaro asks Rosina for a few words for Lindoro, which she has already written. Surprised by Bartolo, she manages to fritter him, but he is still wary. When the stage is empty, Berta attempts to leave, but confronted by the Count disguised as an drunk soldier. She runs to Bartolo for protection, being in fear of the drunken man: Bartolo tries to remove the supposed soldier, but fails. The Count anyhow, sees Rosina, whispers that he is Lindoro, gives her a letter, and she hands the watching Bartolo the list of the wash. Arguments starts between Bartolo and the Count. When Basilio, Figaro and Berta disappear, the dissonance attracts the watch. Bartolo thinks that the Count has been arrested, but Almaviva cites his name to the officer and is released. Bartolo and Basilio are amazed, and Rosina makes fun of them.
