"Il Barbiere di Siviglia," an opera buffa in two acts, words by Sterbini, founded on Beaumarchais's comedy, was first produced at the Argentina Theatre, Rome, Feb. 5, 1816, with the following cast:--
ROSINA Mme. GIORGI RIGHETTI.
BERTAO Mlle. ROSSI.
FIGARO Sig. LUIGI ZAMBONI.
COUNT ALMAVIVA Sig. GARCIA.
BARTOLO Sig. BOTTICELLI.
BASILIO Sig. VITTARELLI.
The story of the writing of "The Barber of Seville" is of more than ordinary interest. Rossini had engaged to write two operas for the Roman Carnival of 1816. The first was brought out Dec. 26, 1815, and the same day he bound himself to furnish the second by Jan. 20, 1816, with no knowledge of what the libretto would be. Sterbini furnished him with the story of the "Barber" by piecemeal, and as fast as the verses were given him he wrote the music. The whole work was finished in less than three weeks. Its original title was "Almaviva, ossia l'inutile precauzione," to distinguish it from Paisiello's "Barber of Seville." The original overture was lost in some manner, and that of "Aureliano" substituted. In the scene beneath Rosina's balcony Garcia introduced a Spanish air of his own; but it failed, and before the second performance Rossini wrote the beautiful cavatina, "Ecco ridente il cielo" in its place, the melody borrowed from the opening chorus of his "Aureliano," and that in turn from his "Ciro in Babilonia." The subject of the effective trio, "Zitti, zitti," was taken from Haydn's "Seasons," and the aria sung by the duenna Berta ("Il vechiotto cerca moglie"), from a Russian melody he had heard a lady sing in Rome and introduced for her sake. For the music-lesson scene Rossini wrote a trio which has been lost; and thus an opportunity has been given Rosinas to interpolate what they please.
The scene of the opera is laid at Seville, Spain. Count Almaviva has fallen in love with Rosina, the ward of Dr. Bartolo, with whom she resides, and who wishes to marry her himself. After serenading his mistress, who knows him only by the name of Count Lindoro, he prevails upon Figaro, the factotum of the place, to bring about an interview with her. In spite of her guardian's watchfulness, as well as that of Don Basilio, her music-teacher, who is helping Bartolo in his schemes, she informs the Count by letter that she returns his passion. With Figaro's help he succeeds in gaining admission to the house disguised as a drunken dragoon, but this stratagem is foiled by the entrance of the guard, who arrest him. A second time he secures admission, disguised as a music-teacher, and pretending that he has been sent by Don Basilio, who is ill, to take his place. To get into Bartolo's confidence he produces Rosina's letter to himself, and promises to persuade her that the letter has been given him by a mistress of the Count, and thus break off the connection between the two. By this means he secures the desired interview, and an elopement and private marriage are planned. In the midst of the arrangements, however, Don Basilio puts in an appearance, and the disconcerted lover makes good his escape. Meanwhile Bartolo, who has Rosina's letter, succeeds in arousing the jealousy of his ward with it, who thereupon discloses the proposed elopement and promises to marry her guardian. At the time set for the elopement the Count and Figaro appear. A reconciliation is easily effected, a notary is at hand, and they are married just as Bartolo makes his appearance with officers to arrest the Count. Mutual explanations occur, however, and all ends happily.
The first act opens after a short chorus, with the serenade, "Ecco ridente in cielo," the most beautiful song in the opera. It begins with a sweet and expressive largo and concludes with a florid allegro, and is followed by a chorus in which the serenaders are dismissed. In the second scene Figaro enters, and after some brief recitatives sings the celebrated buffo aria, "Largo al factotum," in which he gives an account of his numerous avocations. The aria is full of life and gayety, and wonderfully adapted to the style of the mercurial Figaro.
A light and lively duet between Figaro and the Count, closing with the sprightly melody, "Ah! che d'amore," leads up to the chamber aria of Rosina, so well known on the concert-stage, "Una voce poco fa," which is not only very expressive and of great compass, but is remarkably rich in ornamentation. A short dialogue in recitative then occurs between Bartolo and Basilio, in which they plot to circumvent Rosina by calumny, which gives occasion for the Calumny aria, as it is generally known ("La calunnia"), a very sonorous bass solo, sung by Basilio. Another dialogue follows between Figaro and Rosina, leading to the florid duet, "E il maestro io faccio." A third dialogue follows between Rosina and Bartolo, ending in a bass aria ("Non piu tacete"), very similar in its general style to the Calumny song, but usually omitted in performances. In the tenth scene the Count arrives disguised as the drunken soldier, and the finale begins. It is composed of three scenes very ingeniously arranged, and full of glittering dialogue and very melodious passages.
The second act opens with a soliloquy by Bartolo ("Ma redi il mio destino"), in which he gives vent to his suspicions. It is interrupted at last by a duet with the Count, in which the two characters are strikingly set off by the music. The music-lesson scene follows, in which the artist personating Rosina is given an opportunity for interpolation. In the next scene occurs a dialogue quintet, which is followed by a long aria ("Sempre gridi") by the duenna Bertha, called by the Italians the "Aria de Sorbetto," because the people used to eat ices while it was sung; reminding one of the great aria from "Tancredi," "Di tanti palpiti," which they called the "aria dei rizzi," because Rossini composed it while cooking his rice. In the eighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by a recitative in which the Count reveals himself, leading up to a florid trio, and this in turn to the elegant terzetto, "Zitti, zitti." A bravura and finale of light and graceful melody close the opera.
