BARBIERE DI SIVIGLIA, IL (The Barber of Seville)

Melodramma buffo in two acts by Gioachino Rossini (1792-1868), to a libretto by
Cesare Sterbini, from the play by Beaumarchais. First performance: Rome, Teatro di Torre Argentina, 20 February 1816.

ACT I. The action takes place in Seville. Count Almaviva (tenor) is in love with Rosina (contralto or soprano), the ward of Don Bartolo (buffo bass) who is always kept under strict supervision. In order to get close to Rosina, the Count calls on Figaro (baritone), a local barber, who gives Almaviva the idea of gaining entry to Bartolo's house disguised as a soldier in need of lodgings. But Don Bartolo, who secretly hopes for the hand but most of all for the rich dowry of Rosina has heard from Don Basilio (bass), an impoverished music teacher, that the Count has arrived in Seville. When Almaviva turns up disguised as a soldier on his doorstep, Bartolo reveals his suspicions at once. Meanwhile the Count, on a pretext, has succeeded in speaking,  if only fleetingly, to Rosina. To conceal his noble rank, he tells her his name is Lindoro. After a series of amusing situations, which end in pandemonium, the police arrive, and this puts a stop to Almaviva's bid.
ACT II. Being the shrewd man he is, Figaro immediately comes up with another stylish plan for approaching Rosina. The Count will gain entry to Don Bartolo's house that very evening, this time dressed as a music teacher, deputizing for Don Basilio who, he will explain, is indisposed. The ploy appears to have worked, but Don Basilio's arrival, together with an indiscreet  reference which the Count happens to let slip, lead once again to the deception being uncovered, and Don Bartolo, in a rage, turns everyone out of the house. Almaviva and Figaro, however. are undaunted: during a storm, they use 3 staircase to gain access to Don Bartolo's house and carry Rosina off. The young woman has, in the meantime, been duped by her guardian into thinking that Lindoro is a go-between for Count Almaviva. As a result, Rosina refuses to follow the Count, but the misunderstanding is cleared up immediately, and a happy ending is in sight. When the notary arrives, having been summoned by Don Bartolo to perform a hurried weddingfor himself and Rosina, he is prevailed upon by Figaro to marry Rosina to Almaviva instead. Don Bartolo can only put on a brave face at the outcome, and console himself with the thought that he need not provide Rosina with a dowry.

Cesare Sterbini wrote the libretto for Il barbiere di Siviglia in just 11 days, from 18 to 29 January 1816 and  within 20 days Rossini had completed the opera. It is still incredible to think that he was able to create one of the greatest operatic masterpieces ever in such a short space of time. At its premiere in Rome, the opera was a flop; this unfavourable reception for the work had, however, been carefully organized by Paisiello supporters, Paisiello having written an opera based on the same story 16 years before. The unsuccessful premiere was an isolated incident, because in subsequent performances the opera scored the triumph it deserved. The qualities of the opera stem from Rossini's consistently strong composition, the finesse of the instrumental writing and the constant rhythm of the orchestra in support of the vocal line throughout. But then it is impossible not to be swept up by the  joyful atmosphere of the work and its irrepressible comedy, guaranteed not least by the subtle and realistic characerization of the individual roles. The role of Rossina, written for a coloratura muzzo-soprano, has often been performed (with appropriate revisions) by a high coloratura soprano.