The Barber of Seville
Encyclopedia
The Barber of Seville, or The Futile Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa
in two acts by Gioachino Rossini with a libretto
by Cesare Sterbini
. The libretto was based on Pierre Beaumarchais
's comedy Le Barbier de Séville (1775), which was originally an opéra comique
, or a mixture of spoken play with music. The première (under the title Almaviva, or the Futile Precaution) took place on 20 February 1816, at the Teatro Argentina
, Rome. It was one of the earliest Italian operas to be performed in America and premiered at the Park Theater in New York City
on 29 November 1825. Rossini’s Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all opere buffe; even after two hundred years, its popularity on the modern opera stage attests to that greatness.
had previously been composed by Giovanni Paisiello
, another was composed in 1796 by Nicolas Isouard
and by Francesco Morlacchi
in 1807. Though the work of Paisiello triumphed for a time, Rossini's later version alone has stood the test of time and continues to be a mainstay of operatic repertoire.
Rossini's opera recounts the first of the plays from the Figaro trilogy, by French playwright Pierre Beaumarchais
, while Mozart
's opera Le nozze di Figaro
, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The original Beaumarchais version was first performed in 1775, in Paris at the Comédie-Française
at the Tuileries Palace
.
Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Musicologists believe that, true to form, the music for Il Barbiere di Siviglia was composed in just under three weeks, although some of the themes in the famous overture
were actually borrowed from two earlier Rossini operas, Aureliano in Palmira
and Elisabetta, regina d'Inghilterra
.
Barbieres first performance on February 20, 1816 was a disastrous failure: the audience hissed and jeered throughout, and several on-stage accidents occurred. However, many of the audience were supporters of one of Rossini's rivals, Giovanni Paisiello
, who played on "mob mentality" to provoke the rest of the audience to dislike the opera. Paisiello had already composed The Barber of Seville
and took Rossini's new version to be an affront to his version. In particular, Paisiello and his followers were opposed to the use of basso buffo
, which is common in comic opera
. The second performance met with quite a different fate, becoming a roaring success. It is curious to note that the original French play of Le Barbier de Séville endured a similar story, hated at first only to become a favorite within a week.
and most frequently sung by a coloratura mezzo-soprano
, has, in the past and occasionally in more recent times, been sung in transposition
by coloratura soprano
s such as Marcella Sembrich
, Maria Callas
, Roberta Peters
, Gianna D'Angelo
, Victoria de los Ángeles
, Beverly Sills
, Lily Pons
, Diana Damrau
, Kathleen Battle
and Luciana Serra
. Famous recent mezzo-soprano Rosinas include Marilyn Horne
, Teresa Berganza
, Lucia Valentini Terrani
, Cecilia Bartoli
, Joyce DiDonato
, Jennifer Larmore
, Elīna Garanča
, and Vesselina Kasarova
. Famous contralto Rosinas include Ewa Podleś
.
In a public square outside Dr. Bartolo's house a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina (Ecco ridente in cielo/There, laughing in the sky). Lindoro, who is really the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself—not his money. Almaviva pays off the musicians who then depart, leaving him to brood alone.
Figaro approaches singing (Aria: Largo al factotum
della città/Make way for the factotum of the city). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. (Duet: All'idea di quel metallo/At the idea of that metal). Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Dr. Bartolo, so as to gain entrance to the house. For this suggestion, Figaro is richly rewarded.
Dr. Bartolo's house
The scene begins with Rosina's cavatina
: Una voce poco fa/A voice a little while ago. (This aria was originally written in the key of E major
for a mezzo-soprano
voice, but it is sometimes transposed a semitone
up into F major
for coloratura soprano
s to perform, giving them the chance to sing extra slightly-traditional cadenzas sometimes reaching high Ds or even Fs, as is the case of Diana Damrau
's performances.)
Knowing the Count only by the name of Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, La calunnia è un venticello/Calumny is a little breeze is almost always sung a tone
lower than the original D major).
When the two have gone, Rosina and Figaro enter. The latter asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. (Duet: Dunque io son…tu non m'inganni?/Then I'm the one…you're not fooling me?). Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. (Aria: A un dottor della mia sorte/To a doctor of my class).
As Berta attempts to leave the house, she is met by the Count disguised as an intoxicated soldier. In fear of the drunken man, she rushes to Bartolo for protection and he tries to remove the supposed soldier, but does not succeed. The Count manages to have a quick word with Rosina, whispering that he is Lindoro and passing her a letter. The watching Bartolo is suspicious and demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Bartolo and the Count start arguing and, when Basilio, Figaro and Berta appear, the noise attracts the attention of the Officer of the Watch and his men. Bartolo believes that the Count has been arrested, but Almaviva only has to mention his name to the officer to be released. Bartolo and Basilio are astounded, and Rosina makes sport of them. (Finale: Fredda ed immobile/Cold and unmoving).
Almaviva again appears at the doctor's house, this time disguised as a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his master. In order not to leave Lindoro alone with Rosina, the doctor has Figaro shave him. (Quintet: Don Basilio! — Cosa veggo!/Don Basilio! — What do I see?).
When Basilio suddenly appears, he is bribed to feign sickness by a full purse from Almaviva. Finally Bartolo detects the trick, drives everybody out of the room, and rushes to a notary to draw up the marriage contract between himself and Rosina. He also shows Rosina the letter she wrote to "Lindoro", and convinces her that Lindoro is merely a flunky of Almaviva.
The stage remains empty while the music creates a thunder storm. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and expresses her feelings of betrayal and heartbreak. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, and attempting to leave by way of the ladder, they realize it has been removed. The two are Basilio and the notary and Basilio is given the choice of accepting a bribe and being a witness or receiving two bullets in the head (an easy choice, he says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, but is too late. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry.
Opera buffa
Opera buffa is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as ‘commedia in musica’, ‘commedia per musica’, ‘dramma bernesco’, ‘dramma comico’, ‘divertimento giocoso' etc...
in two acts by Gioachino Rossini with a libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
by Cesare Sterbini
Cesare Sterbini
Cesare Sterbini was an Italian writer.Sterbini was born at Rome. He is known for two libretti for operas by Gioacchino Rossini: Torvaldo e Dorliska and The Barber of Seville ....
. The libretto was based on Pierre Beaumarchais
Pierre Beaumarchais
Pierre-Augustin Caron de Beaumarchais was a French playwright, watchmaker, inventor, musician, diplomat, fugitive, spy, publisher, arms dealer, satirist, financier, and revolutionary ....
's comedy Le Barbier de Séville (1775), which was originally an opéra comique
Opéra comique
Opéra comique is a genre of French opera that contains spoken dialogue and arias. It emerged out of the popular opéra comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent , which combined existing popular tunes with spoken sections...
, or a mixture of spoken play with music. The première (under the title Almaviva, or the Futile Precaution) took place on 20 February 1816, at the Teatro Argentina
Teatro Argentina
The Teatro Argentina is an opera house and theatre located in the Largo di Torre Argentina, a square in Rome, Italy. It is one of the oldest theatres in Rome, and was inaugurated on January 31, 1732 with Berenice by Domenico Sarro....
, Rome. It was one of the earliest Italian operas to be performed in America and premiered at the Park Theater in New York City
New York City
New York is the most populous city in the United States and the center of the New York Metropolitan Area, one of the most populous metropolitan areas in the world. New York exerts a significant impact upon global commerce, finance, media, art, fashion, research, technology, education, and...
on 29 November 1825. Rossini’s Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all opere buffe; even after two hundred years, its popularity on the modern opera stage attests to that greatness.
Composition history
An opera based on the playIl barbiere di Siviglia (Paisiello)
Il barbiere di Siviglia, ovvero La precauzione inutile is a comic opera by Giovanni Paisiello from a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page....
had previously been composed by Giovanni Paisiello
Giovanni Paisiello
Giovanni Paisiello was an Italian composer of the Classical era.-Life:Paisiello was born at Taranto and educated by the Jesuits there. He became known for his beautiful singing voice and in 1754 was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and...
, another was composed in 1796 by Nicolas Isouard
Nicolas Isouard
Nicolas Isouard was a Maltese composer.Isouard studied in Valletta with Francesco Azopardi, in Palermo with Giuseppe Amendola, and in Naples with Nicola Sala and Pietro Alessandro Guglielmi. From 1795 he was organist at St...
and by Francesco Morlacchi
Francesco Morlacchi
Francesco Morlacchi was an Italian composer of more than twenty operas. During the many years he spent as the royal Royal Kapellmeister in Dresden, he was instrumental in popularizing the Italian style of opera.-Biography:...
in 1807. Though the work of Paisiello triumphed for a time, Rossini's later version alone has stood the test of time and continues to be a mainstay of operatic repertoire.
Rossini's opera recounts the first of the plays from the Figaro trilogy, by French playwright Pierre Beaumarchais
Pierre Beaumarchais
Pierre-Augustin Caron de Beaumarchais was a French playwright, watchmaker, inventor, musician, diplomat, fugitive, spy, publisher, arms dealer, satirist, financier, and revolutionary ....
, while Mozart
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
's opera Le nozze di Figaro
The Marriage of Figaro
Le nozze di Figaro, ossia la folle giornata , K. 492, is an opera buffa composed in 1786 in four acts by Wolfgang Amadeus Mozart, with Italian libretto by Lorenzo Da Ponte, based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro .Although the play by...
, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The original Beaumarchais version was first performed in 1775, in Paris at the Comédie-Française
Comédie-Française
The Comédie-Française or Théâtre-Français is one of the few state theaters in France. It is the only state theater to have its own troupe of actors. It is located in the 1st arrondissement of Paris....
at the Tuileries Palace
Tuileries Palace
The Tuileries Palace was a royal palace in Paris which stood on the right bank of the River Seine until 1871, when it was destroyed in the upheaval during the suppression of the Paris Commune...
.
Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Musicologists believe that, true to form, the music for Il Barbiere di Siviglia was composed in just under three weeks, although some of the themes in the famous overture
Overture
Overture in music is the term originally applied to the instrumental introduction to an opera...
were actually borrowed from two earlier Rossini operas, Aureliano in Palmira
Aureliano in Palmira
Aureliano in Palmira is an operatic dramma serio in two acts written by Gioachino Rossini to an Italian libretto in which the librettist was credited only by the initials "G. F. R." The libretto has generally been attributed to Giuseppe Felice Romani, but sometimes to the otherwise...
and Elisabetta, regina d'Inghilterra
Elisabetta, regina d'Inghilterra
Elisabetta, regina d'Inghilterra, is a dramma per musica or opera in two acts by Gioachino Rossini to a libretto by Giovanni Schmidt, from the play The Page of Leicester by Carlo Federici...
.
Barbieres first performance on February 20, 1816 was a disastrous failure: the audience hissed and jeered throughout, and several on-stage accidents occurred. However, many of the audience were supporters of one of Rossini's rivals, Giovanni Paisiello
Giovanni Paisiello
Giovanni Paisiello was an Italian composer of the Classical era.-Life:Paisiello was born at Taranto and educated by the Jesuits there. He became known for his beautiful singing voice and in 1754 was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and...
, who played on "mob mentality" to provoke the rest of the audience to dislike the opera. Paisiello had already composed The Barber of Seville
Il barbiere di Siviglia (Paisiello)
Il barbiere di Siviglia, ovvero La precauzione inutile is a comic opera by Giovanni Paisiello from a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page....
and took Rossini's new version to be an affront to his version. In particular, Paisiello and his followers were opposed to the use of basso buffo
Opera buffa
Opera buffa is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as ‘commedia in musica’, ‘commedia per musica’, ‘dramma bernesco’, ‘dramma comico’, ‘divertimento giocoso' etc...
, which is common in comic opera
Comic opera
Comic opera denotes a sung dramatic work of a light or comic nature, usually with a happy ending.Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria...
. The second performance met with quite a different fate, becoming a roaring success. It is curious to note that the original French play of Le Barbier de Séville endured a similar story, hated at first only to become a favorite within a week.
Performance history
As a staple of the operatic repertoire, Barber appears as number nine on the Operabase list of the most-performed operas worldwide. The role of Rosina, although written for a coloratura contraltoContralto
Contralto is the deepest female classical singing voice, with the lowest tessitura, falling between tenor and mezzo-soprano. It typically ranges between the F below middle C to the second G above middle C , although at the extremes some voices can reach the E below middle C or the second B above...
and most frequently sung by a coloratura mezzo-soprano
Mezzo-soprano
A mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above...
, has, in the past and occasionally in more recent times, been sung in transposition
Transposition (music)
In music transposition refers to the process, or operation, of moving a collection of notes up or down in pitch by a constant interval.For example, one might transpose an entire piece of music into another key...
by coloratura soprano
Coloratura soprano
A coloratura soprano is a type of operatic soprano who specializes in music that is distinguished by agile runs and leaps. The term coloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice...
s such as Marcella Sembrich
Marcella Sembrich
Marcella Sembrich was the stage name of the Polish coloratura soprano, Prakseda Marcelina Kochańska...
, Maria Callas
Maria Callas
Maria Callas was an American-born Greek soprano and one of the most renowned opera singers of the 20th century. She combined an impressive bel canto technique, a wide-ranging voice and great dramatic gifts...
, Roberta Peters
Roberta Peters
Roberta Peters is an American coloratura soprano.One of the most prominent American singers to achieve lasting fame and success in opera, Peters is noted for her 35-year association with the Metropolitan Opera Company in New York...
, Gianna D'Angelo
Gianna d'Angelo
Gianna D'Angelo , is an American coloratura soprano, primarily active in the 1950s and 1960s.Born Jane Angelovich in Hartford, Connecticut, she studied first at The Juilliard School in New York City with Giuseppe De Luca...
, Victoria de los Ángeles
Victoria de los Ángeles
Victoria de los Ángeles was a Spanish Catalan operatic soprano and recitalist whose career began in the early 1940s and reached its height in the years from the mid-1950s to the mid-1960s. Her obituary in The Times noted that she must be counted “among the finest singers of the second half...
, Beverly Sills
Beverly Sills
Beverly Sills was an American operatic soprano whose peak career was between the 1950s and 1970s. In her prime she was the only real rival to Joan Sutherland as the leading bel canto stylist...
, Lily Pons
Lily Pons
Lily Pons was a French-American operatic soprano and actress who had an active career from the late 1920s through the early 1970s. As an opera singer she specialized in the coloratura soprano repertoire and was particularly associated with the title roles in Léo Delibes' Lakmé and Gaetano...
, Diana Damrau
Diana Damrau
Diana Damrau is a German lyric coloratura soprano of the operatic stage.-Biography:Diana Damrau was born in 1971 in Günzburg, Bavaria, Germany, and began her operatic studies with Carmen Hanganu at the Musikhochschule in Würzburg. After graduating from music conservatory she worked in Salzburg...
, Kathleen Battle
Kathleen Battle
Kathleen Battle , is an African-American operatic soprano known for her agile and light voice and her silvery, pure tone. Battle initially became known for her work within the concert repertoire through performances with major orchestras during the early and mid 1970s. She made her opera debut in...
and Luciana Serra
Luciana Serra
Luciana Serra is an Italian soprano.-Debuts:Serra made her international debut in 1966 at the Hungarian State Opera House in Budapest, but did not achieve general acclaim until the late 1970s, when she took on coloratura roles in Donizetti's Lucia di Lammermoor and Bellini's La sonnambula...
. Famous recent mezzo-soprano Rosinas include Marilyn Horne
Marilyn Horne
Marilyn Horne is an American mezzo-soprano opera singer. She specialized in roles requiring a large sound, beauty of tone, excellent breath support, and the ability to execute difficult coloratura passages....
, Teresa Berganza
Teresa Berganza
Teresa Berganza, born on March 16, 1935), is a Spanish mezzo-soprano. She is most closely associated with the roles of Rossini, Mozart, and Bizet. She is admired for her technical virtuosity, musical intelligence and beguiling stage presence.- Biography :...
, Lucia Valentini Terrani
Lucia Valentini Terrani
Lucia Valentini Terrani was an Italian coloratura mezzo-soprano, particularly associated with Rossini roles.-Life and career:...
, Cecilia Bartoli
Cecilia Bartoli
Cecilia Bartoli is an Italian coloratura mezzo-soprano opera singer and recitalist. She is best-known for her interpretation of the music of Mozart and Rossini, as well as for her performances of lesser-known Baroque and classical music...
, Joyce DiDonato
Joyce DiDonato
Joyce DiDonato is an award-winning American operatic mezzo-soprano particularly admired for her interpretations of the works of Handel, Mozart, and Rossini...
, Jennifer Larmore
Jennifer Larmore
Jennifer Larmore is an American mezzo-soprano opera singer, noted for coloratura and bel canto.- Career :Jennifer Larmore is an American mezzo-soprano, well known for her versatility, natural beauty and stage craft...
, Elīna Garanča
Elina Garanca
-Biography:Garanča was born in the Latvian city of Riga into a musical family, her father a choral director, mother a lieder singer and singing teacher. Her mother Anita is a professor at the Latvian Academy of Music, an associated professor at the Latvian Academy of Culture, a vocal music teacher...
, and Vesselina Kasarova
Vesselina Kasarova
Vesselina Kasarova is a Bulgarian mezzo-soprano opera singer.- Early life and education :Vesselina Kasarova was born in the central Bulgarian town of Stara Zagora. Under the communist regime she studied Russian as a second language and had an early start in music education...
. Famous contralto Rosinas include Ewa Podleś
Ewa Podles
Ewa Podleś is an internationally celebrated Polish coloratura contralto with a very wide vocal range and great vocal agility....
.
Roles
| Role | Voice type Voice type A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics. Voice classification is the process by which human voices are evaluated and are thereby designated into voice types... |
Premiere cast, 20 February 1816 (Conductor Conducting Conducting is the art of directing a musical performance by way of visible gestures. The primary duties of the conductor are to unify performers, set the tempo, execute clear preparations and beats, and to listen critically and shape the sound of the ensemble... : Gioachino Rossini) |
|---|---|---|
| Rosina, Dr. Bartolo's ward | contralto Contralto Contralto is the deepest female classical singing voice, with the lowest tessitura, falling between tenor and mezzo-soprano. It typically ranges between the F below middle C to the second G above middle C , although at the extremes some voices can reach the E below middle C or the second B above... / mezzo-soprano Mezzo-soprano A mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above... |
Geltrude Righetti Geltrude Righetti Geltrude Righetti was an Italian contralto closely associated with the operas of Gioachino Rossini.... |
| Doctor Bartolo, Rosina's guardian | bass Bass (voice type) A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C... |
Bartolomeo Botticelli |
| Count Almaviva, a local nobleman | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Manuel Garcia Manuel García (tenor) Manuel del Pópulo Vicente Rodriguez García was a Spanish opera singer, composer, impresario, and singing teacher.-Biography:... |
| Figaro, a factotum, the Barber of Seville | baritone Baritone Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C Baritone (or... |
Luigi Zamboni Luigi Zamboni Luigi Zamboni was an Italian operatic buffo bass-baritone.He was born in Bologna, where he began his singing career in 1791 in a production of Cimarosa's Il fanatico burlato. Engagements followed in Naples, Parma, Venice and Rome, where he sang in operas by Valentino Fioravanti, Paisiello and... |
| Fiorello, a servant to the Count | bass | Paolo Biagelli |
| Don Basilio, a music teacher | bass | Zenobio Vitarelli |
| Berta, a servant to Dr. Bartolo | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... |
Elisabetta Loyselet |
| Ambrogio, a servant to Dr. Bartolo | bass | |
| Officers, soldiers, policeman, a notary | ||
Act 1
The square in front of Dr. Bartolo's houseIn a public square outside Dr. Bartolo's house a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina (Ecco ridente in cielo/There, laughing in the sky). Lindoro, who is really the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself—not his money. Almaviva pays off the musicians who then depart, leaving him to brood alone.
Figaro approaches singing (Aria: Largo al factotum
Largo al factotum
Largo al factotum is an aria from The Barber of Seville by Gioachino Rossini, sung at the first entrance of the title character; the repeated "Figaro"s before the final patter section are an icon in popular culture of operatic singing...
della città/Make way for the factotum of the city). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. (Duet: All'idea di quel metallo/At the idea of that metal). Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Dr. Bartolo, so as to gain entrance to the house. For this suggestion, Figaro is richly rewarded.
Dr. Bartolo's house
The scene begins with Rosina's cavatina
Cavatina
Cavatina is a musical term, originally a short song of simple character, without a second strain or any repetition of the air...
: Una voce poco fa/A voice a little while ago. (This aria was originally written in the key of E major
E major
E major is a major scale based on E, with the pitches E, F, G, A, B, C, and D. Its key signature has four sharps .Its relative minor is C-sharp minor, and its parallel minor is E minor....
for a mezzo-soprano
Mezzo-soprano
A mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above...
voice, but it is sometimes transposed a semitone
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically....
up into F major
F major
F major is a musical major scale based on F, consisting of the pitches F, G, A, B, C, D, and E. Its key signature has one flat . It is by far the oldest key signature with an accidental, predating the others by hundreds of years...
for coloratura soprano
Coloratura soprano
A coloratura soprano is a type of operatic soprano who specializes in music that is distinguished by agile runs and leaps. The term coloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice...
s to perform, giving them the chance to sing extra slightly-traditional cadenzas sometimes reaching high Ds or even Fs, as is the case of Diana Damrau
Diana Damrau
Diana Damrau is a German lyric coloratura soprano of the operatic stage.-Biography:Diana Damrau was born in 1971 in Günzburg, Bavaria, Germany, and began her operatic studies with Carmen Hanganu at the Musikhochschule in Würzburg. After graduating from music conservatory she worked in Salzburg...
's performances.)
Knowing the Count only by the name of Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, La calunnia è un venticello/Calumny is a little breeze is almost always sung a tone
Major second
In Western music theory, a major second is a musical interval spanning two semitones, and encompassing two adjacent staff positions . For example, the interval from C to D is a major second, as the note D lies two semitones above C, and the two notes are notated on adjacent staff postions...
lower than the original D major).
When the two have gone, Rosina and Figaro enter. The latter asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. (Duet: Dunque io son…tu non m'inganni?/Then I'm the one…you're not fooling me?). Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. (Aria: A un dottor della mia sorte/To a doctor of my class).
As Berta attempts to leave the house, she is met by the Count disguised as an intoxicated soldier. In fear of the drunken man, she rushes to Bartolo for protection and he tries to remove the supposed soldier, but does not succeed. The Count manages to have a quick word with Rosina, whispering that he is Lindoro and passing her a letter. The watching Bartolo is suspicious and demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Bartolo and the Count start arguing and, when Basilio, Figaro and Berta appear, the noise attracts the attention of the Officer of the Watch and his men. Bartolo believes that the Count has been arrested, but Almaviva only has to mention his name to the officer to be released. Bartolo and Basilio are astounded, and Rosina makes sport of them. (Finale: Fredda ed immobile/Cold and unmoving).
Act 2
Dr. Bartolo's houseAlmaviva again appears at the doctor's house, this time disguised as a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his master. In order not to leave Lindoro alone with Rosina, the doctor has Figaro shave him. (Quintet: Don Basilio! — Cosa veggo!/Don Basilio! — What do I see?).
When Basilio suddenly appears, he is bribed to feign sickness by a full purse from Almaviva. Finally Bartolo detects the trick, drives everybody out of the room, and rushes to a notary to draw up the marriage contract between himself and Rosina. He also shows Rosina the letter she wrote to "Lindoro", and convinces her that Lindoro is merely a flunky of Almaviva.
The stage remains empty while the music creates a thunder storm. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and expresses her feelings of betrayal and heartbreak. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, and attempting to leave by way of the ladder, they realize it has been removed. The two are Basilio and the notary and Basilio is given the choice of accepting a bribe and being a witness or receiving two bullets in the head (an easy choice, he says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, but is too late. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry.