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Rossini, G. (1792-1868)

Il barbiere di Siviglia

The Barber of Seville

Composed 1816.
First performed February 20, 1816.
Libretto by Cesare Sterbini (in Itarian),
after Beaumarchais.

A Summary of gThe Barber of Sevilleh

Act 1
In the 18th century, at the house of a doctor, Bartolo, keeps Rosina, confined in his house. He is her guardian. Rosina inherited a great deal of money from her parents. Bartolo attempts to get both the beautiful girl and extensive inheritance by getting her to marry him.
Count Almaviva, an aristocrat in Spain, falls in love with Rosina. Almaviva calls himself gLindoroh, a poor student, to conceal his high status, and he serenades her. But he canft meet her for Bartolofs stringent control.
Count Almaviva asks Figaro, a barber in Siviglia, to help with the success of his love. Figaro as the barber enters Bartolofs house, and he suggests to Almaviva to disguise himself as a drunken soldier billeted to Bartolofs house. But Bartolo is skeptical about Almaviva disguised as a soldier. This plan doesnft go well.

Act 2
The following plan becomes successful. Almaviva disguises himself as a pupil of a music teacher, Basilio. Basilio is Bartolofs right hand man. Almaviva can enter Bartolofs house, and during a music lesson is able to make promise with Rosina to run away and marry. Then, Figaro steals the key of the balcony window while he shaves Bartolo.
After Almaviva and Figaro leave Bartolofs house, Bartolo tells Rosina that Lindoro attempts to sell her to Count Almaviva. Rosina gets angry, and says she will marry Bartolo or any man. Bartolo is pleased, and calls a public notary over.
That same night, Almaviva and Figaro steal into Bartolofs house through the balcony window. At first Rosina rebuffs gLindoro,h but when Almaviva explains that Lindoro and Almaviva are one and the same person, her confusion is cleared up.
At that moment, the notary arrives, so Almaviva marrys Rosina in the room. Bartolo enters the room, but it is too late now. Almaviva tells Bartolo to take Rosinafs extensive inheritance for himself. So Bartolo is satisfied with the outcome, too.

A Comment on gThe Barber of Sevilleh

Many operas around the world cover on the subjects of love, sorrow, and death, that is to say, they are tragic dramas. If you are not good at such negative stories, I recommend you see this opera-gThe Barber of Seville.h Ifm sure we will burst into laughter many times, because there are some comical points in this opera. You should especially pay attention to the dialogue between Bartolo and Almaviva. Almaviva disguises himself as Bartolofs right hand man in Act 2. The audience frequently burst into laughter.

Gioachino Rossini who composed this opera is a musical genius. The overture of this opera is very famous. And Rossinifs melodies are bright and smooth, so the operafs story flows freely. Do you know the gRossini Crescendoh? This is Rossinifs unique method of composition to increase sound volume gradually in steps. The Rossini Crescendo probably excites both orchestra and audience at the same time.

Do you suspect that Figaro, the barber in Siviglia, is the Figaro in Mozartfs opera gThe Marriage of Figaroh? Well, you are right! Actually, gThe Marriage of Figaroh is a sequel to gThe Barber of Seville.h You should see both operas. You would enjoy opera twice over.

Gluck, C. W. (1714-1787)
@- Orpheus and Eurydice

Mozart, W. A. (1756-1791)

@- The Marriage of Figaro
@- Don Giovanni
@- Cosi fan tutte
@- The Magic Flute

Beethoven, L. v. (1770-1827)
@- Fidelio

Weber, C. M. v. (1786-1826)
@- The Magic Bullets

Rossini, G. (1792-1868)
@- The Barber of Seville

Donizetti, G. (1797-1848)
@- The Elixir of Love

Verdi, G. (1813-1901)
@- Macbeth
@- Rigoletto
@- Il trovatore
@- La Traviata
@- Un ballo in maschera
@- Don Carlo
@- Aida
@- Otello
@- Falstaff

Wagner, R. (1813-1883)
@- The Flying Dutchman
@- Tannhauser
@- Lohengrin
@- Tristan und Isolde
@- Die Meistersinger von Nuernberg
@- The Rhinegold
@- Die Walkure
@- Siegfried
@- Twilight of the Gods
@- Parsifal

Offenbach, J. (1819-1880)
@- The Tales of Hoffmann

Strauss, J. (1825-1899)
@- Die Fledermaus (The Bat)

Bizet, G. (1838-1875)
@- Carmen

Tchaikovsky, P. J. (1840-1893)
@- Eugene Onegin

Massenet, J. (1842-1912)
@- Werther

Humperdinck, E. (1854-1921)
@- Hansel and Gretel

Puccini, G. (1858-1924)
@- La Boheme
@- Tosca
@- Madama Butterfly
@- Turandot

Leoncavallo, R. (1858-1919)
@- Pagliacci

Mascagni, P. (1863-1945)
@- Cavalleria Rusticana

Debussy, C. (1862-1918)
@- Pelleas et Melisande

Strauss, R. (1864-1949)
@- Salome
@- The Cavalier of the Rose

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