The Barber of Seville
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The Barber of Seville is a French play by Pierre Beaumarchais written in 1775, and originally entitled Le Barbier de Séville. A comic opera in two acts entitled Il Barbiere di Siviglia by Gioacchino Rossini was based on Beaumarchais's comedy with a libretto by Cesare Sterbini. An opera based on the play had previously been composed by Giovanni Paisiello on a libretto by Nicholas Isouard. Though the work of Paisiello triumphed for a time, Rossini's later version alone has stood the test of time and has been a mainstay of the operatic repertoire since its introduction in Rome in 1816.
The story of The Barber of Seville is continued in Beaumarchais's play The Marriage of Figaro and the Mozart opera based on it, which was composed in 1786.
Contents |
Rossini's Cast of Characters
- Rosina, Bartolo's ward (lyric coloratura or mezzo soprano)
- Doctor Bartolo, Rosina's guardian (bass)
- Count Almaviva, a local nobleman. He uses the alias Lindoro (tenor)
- Figaro, the Barber of Seville (baritone)
- Fiorello, the Count's servant
- Basilio, Bartolo's accomplice, a music teacher (bass)
- Berta, servant to Doctor Bartolo (soprano)
Plot
- Place, Seville.
- Time, the seventeenth century.
Act I
Seville. Square before the house of Bartolo. Almaviva serenades Rosina, whom Bartolo desires to marry for her fortune. ("See, the morn appears.") Figaro approaches singing. (Aria: "Make way for the factotum of the city.") Figaro used to be a servant of the Count, and the Count asks him for assistance in meeting Rosina, offering money to Figaro, should he be successful. (Duet: "The shine of gold falls upon me.") Figaro advises the Count to disguise himself as a soldier and by feigning drunkenness gain entrance to the house. For this suggestion he is richly rewarded.
Change of scene: Chamber of Dr. Bartolo. (Rosina's cavatina: "I ask my timid heart.") Knowing the Count only under the name of Lindoro, she writes to him, and is leaving the room when Bartolo and Basilio enter. Bartolo suspects the Count, and Basilio advises that he be put out of the way. (Aria: "Calumny is light as air.") When the two have gone Rosina and Figaro enter. The latter asks Rosina for a few words for Lindoro, which she has already written. (Duet: "Is it I that you mean ?") Surprised by Bartolo, she manages to fool him, but he is still suspicious. (Aria: "A doctor you are trying to fool!.") When the stage is empty, Berta tries to pass through the exit, but is met by the Count disguised as an intoxicated soldier. She rushes to Bartolo for protection, being in fear of the drunken man: Bartolo endeavours to remove the supposed soldier, but does not succeed. The Count manages to see Rosina, whispers that he is Lindoro, gives her a letter, and she hands the watching Bartolo the list of the wash. When Basilio, Figaro and Berta disappear, the noise attracts the watch. Bartolo believes that the Count has been arrested, but Almaviva mentions his name to the officer and is released. Bartolo and Basilio are astounded, and Rosina makes sport of them. (Finale: "Cold and unmoving") '
Act II
Almaviva again appears at the house of the doctor, this time disguised as a tutor, and acting as substitute for the supposedly ailing Basilio, who gives lessons to Rosina. In order that he may not be alone with Rosina, the doctor has himself shaved by Figaro. (Quintet: "What, Basilio! what do I see?") When Basilio suddenly appears he is bribed by a full purse from Figaro, to play the part of an invalid. 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. The stage remains empty, while the music describes a thunder storm, then the Count and Figaro enter through a window. When Basilio arrives with the notary, he is again bribed, and he and Figaro witness the signatures to a marriage contract between the Count and Rosina. The befuddled Bartolo is pacified by being allowed to retain Rosina's dowry.
Famous Aria
Largo al factotum, Figaro's aria from Il Barbiere di Siviglia
Largo al factotum della città. Make way for the topman of the city. Presto a bottega che l'alba e gia. Rushing to his shop now that it's dawn. Ah, che bel vivere, che bel piacere Ah, isn't life good, how pleasant it is per un barbiere di qualità! For a barber of class! Ah, bravo Figaro! Ah, nice one Figaro! Bravo, bravissimo! Nice one, really nice one! Fortunatàssimo per verità! I am the luckiest it's true to say! Pronto a far tutto, Ready for anything, la notte e il giorno night and day sempre d'intorno in giro sta. Always busy and around. Miglior cuccagna per un barbiere, A better lot for a barber, vita piu nobile, no, non si da. A more noble life cannot be found. Rasori e pettini Razors and combs lancette e forbici, Lancets and scissors, al mio comando At my command tutto qui sta. Are all here. V'e la risorsa, And there are `extras', poi, de mestiere Then, for the business colla donnetta... col cavaliere... With women... and with gentlemen... Ah, che bel vivere, che bel piacere Ah, isn't life good, how pleasant it is per un barbiere di qualità! For a barber of class! Tutti mi chiedono, tutti mi vogliono, Everyone asks for me, everyone wants me, donne, ragazzi, vecchi, fanciulle: Women, young people, old people, the golden haired; Qua la parruca... Presto la barba... What about the wig... A quick shave... Qua la sanguigna... Some leeches for bleeding... Presto il biglietto... Quick the note... Tutti mi chiedono, tutti mi vogliono; Everyone asks for me, everyone wants me; Qua la parruca, presto la barba, What about the wig, a quick shave, Presto il biglietto, ehi! Hurry - the note, o me! Figaro! Figaro! Figaro!, ecc. Figaro! Figaro! Figaro! etc. Ahime, che furia! Heavens, what mayhem! Ahime, che folla! Heavens, what crowds! Uno alla volta, per carità! One at a time, For pity's sake! Figaro! Son qua. Figaro! Here I am. Ehi, Figaro! Son qua. O me, Figaro! Here I am. Figaro qua, Figaro là, Figaro here, Figaro there, Figaro su, Figaro giu, Figaro up, Figaro down, Pronto prontissimo son come il fumine: Quicker and quicker the sparks fly with me; sono il factotum della citta. I am the topman of the city. Ah, bravo Figaro! Bravo, bravìssimo; Ah, nice one Figaro! Nice one, really nice one; fortunatàssimo, fortunatàssimo, I am the luckiest, I am the luckiest, fortunatàssimo per verità! I am the luckiest it's true to say! a te fortuna non mancherà. From you luckiness will not depart.
Legacy
The Barber Of Seville is one of the most famous operas ever written. Especally the aria "Largo el Factotum" with its "Figaro"-chant is well known to most people.
The opera was famously parodied in animated cartoons starring Woody Woodpecker (The Barber of Seville, 1944) , Bugs Bunny (Rabbit of Seville, 1950) and Tex Avery's Magical Maestro (1952).
The aria is often used in commercials, films, cartoons, tv shows in an Italian or operatic context.
The Barber of Seville is used in a popular analogy of the Barber paradox.
References
Plot taken from The Opera Goer's Complete Guide by Leo Melitz, 1921 version.da:Barberen i Sevilla de:Il Barbiere di Siviglia es:El Barbero de Sevilla fr:Le Barbier de Séville it:Il barbiere di Siviglia (Rossini) he:הספר מסיביליה ja:セビリアの理髪師 pl:Cyrulik sewilski sl:Seviljski brivec sr:Севиљски бербер fi:Sevillan parturi sv:Barberaren i Sevilla