The Barber of Seville

Opera

Gioacchino Rossini

About

Soon Available

Location

Arena di Verona

Show type

Opera

Music

Gioacchino Rossini

IL BARBIERE DI SIVIGLIA Roberto Mori ACT I

It’s almost dawn. In a square in Seville, a young nobleman, Count Almaviva, organizes a serenade for a girl met some time before at the Prado in Madrid, but whose name he does not know. In fact, the elderly man who accompanied her to the museum – probably her father – had prevented any contact. However, the girl doesn’t come to the window and, after the musicians leave, the Count, discouraged, can only give vent to his feelings on his servant Fiorello. 

Somebody is heard arriving, singing to himself. Almaviva cautiously hides, but the obtruder is an old acquaintance, Figaro, a barber and jack-of-all-trades. The Count explains his problem and the “factotum” immediately offers to help him. He knows the girl well and goes to her house to work: Rosina is not in fact Doctor Bartolo’s daughter, but his ward. But that’s not all. Her guardian, jealous and wary, keeps her under lock and key because he intends marrying her to get his hands on her dowry.

Just then, the balcony opens and Rosina drops a note, which Don Bartolo unsuccessfully tries to intercept. In the note, the girl informs her admirer that she is curious: she would like to know something about him and what his intentions are. Following Figaro’s advice, Almaviva therefore sings another serenade, declaring that is name is Lindoro and that he is a penniless student. He wants her to love him in spite of his social standing. Rosina plays along with him, and the elated Count promises Figaro a generous reward for his help. The thought of the money stimulates the barber’s imagination, and he suggests Almaviva disguises himself as a soldier. A regiment is arriving in Seville: with a false billeting permit, the Count will be able to request accommodation at Don Bartolo’s house and finally talk to the girl.

Don Bartolo’s house. Rosina, wily and resourceful, has decided to assert herself: she has written a letter to her young suitor and intends having it delivered by Figaro. The barber arrives shortly after, but is immediately compelled to hide. In fact, Don Bartolo and Don Basilio, Rosina’s singing teacher, enter. The guardian, having sensed the existence of a suitor, wants to speed up the marriage procedure. Basilio, a hypocritical shady operator and swindler, has discovered that Almaviva, Rosina’s suitor, has arrived in town, and suggests Don Bartolo that slander would be the best way to put him out of the running. 

The pair leave to prepare the marriage contract, but Figaro has overheard everything. He tells Rosina of the plot and, after having confirmed that Lindoro, whom he passes off as his cousin, is in love with her, tells her that the young man will try to enter the house. He therefore suggests she gives her suitor a small sign of encouragement. No sooner said than done: Rosina gives the barber the letter she had already prepared. 

Figaro leaves and Don Bartolo enters. Nothing slips the suspicious old man: he notices that Rosina has used pen and paper and reprimands her. But then someone knocks at the door: the Count enters, disguised as a soldier and pretending to be drunk. Don Bartolo attempts unsuccessfully to send him away. When Rosina arrives, Almaviva reveals his identity and tries to pass her a note, but the tutor notices and, just in time, the girl manages to replace it with the laundry list. At the climax of the confusion, someone else knocks at the door: the guards. The Count secretly reveals his true identity to the officer who orders his arrest and, to everybody’s astonishment, is released. Nobody understands what is happening.

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