Martina Goldring

MUS 456: Opera Literature

Il barbiere di Siviglia Act II

 Composer and title of opera.

o Gioachino Rossini, Il barbiere di Siviglia

 Name and birth and death dates of composer:

o Gioachino Rossini, 29 Feb 1792-1868

 Nationality or country of residence of composer:

o Italian

 Librettist(s):
o Cesare Sterbini

 Source of libretto:
o Pierre Beaumarchais’s French comedy Le Barbier de Seville ou la Precaution
inutile (1775)

 Year of Composition and/or premiere:

o 1816

 Language of opera:
o Italian

 How many operas by this composer? Importance of composer in operatic repertory

today? Which are his/her/their most important operas?
o 39 operas
o Set new standards for comic and serious opera
o L’italiana in Algeri, Il barbiere di Siviglia, La Cenerentola, Guillaume Tell

 What type of excerpt(s): aria/song, vocal ensemble, chorus, instrumental section,

overture/prelude/opening, etc.?
o Trio (Rosina, the Count, and Figaro)

 Describe the musical/compositional style of excerpt and opera.

o Opera buffa (comic opera)
o Recitativo secco
o Rossini crescendo
o Bel canto (beautiful singing) – arias show off the capabilities (beauty, speed, and
agility) of the human voice. Lots of fast moving lines/melismas
Martina Goldring

 Plot description of this excerpt and this opera— BETWEEN ONE AND THREE
SUBSTANTIAL PARAGRAPHS IN LENGTH.
o ACT I – Count Almaviva has disguised himself as a poor student named Lindoro
and is serenading at Rosina’s window. He is in disguise because he wants her to
love him for himself and not for his money. She is the ward of Bartolo, who plans
to marry her once she is of age. Figaro used to be the Count’s servant, and the
Count asks him to help him meet Rosina. Figaro suggests that the Count dress up
as a drunken soldier needing lodgings to get into the house. Rosina is writing to
“Lindoro”. Bartolo is suspicious of the Count and the music teacher Basilio
suggests making up rumours about the Count to get him out of the way. The
Count Almaviva enters the house disguised as a drunk soldier and demands to be
given lodging. Bartolo tells him he is officially exempt from being required to
lodge soldiers in his home. The Count pretends to be too drunk to comprehend
and dares Bartolo to a fight. Bartolo searches for the official document proving
his exemption, and the Count whispers to Rosina that he is Lindoro in disguise.
He passes her a love letter. Bartolo notices and demands to see the note, but
Rosina tricks him by giving him her laundry list. Bartolo and the Count argue and
cause a ruckus. The Officer of the Watch and his troops arrive and Bartolo
demands that they arrest the “drunken soldier”. The Count reveals his true
identity to the Officer who then backs off. Bartolo and Basilio are extremely
confused.
o ACT II – Count Almaviva goes to the doctor’s house again, disguised as Don
Alonso, a priest and singing tutor who is substituting for Basilio who is “ill”. To
gain his trust, Don Alonso tells Bartolo that he has intercepted a note from
Lindoro to Rosina, and that “Lindoro” is Count Almaviva’s servant. He says that
Almaviva has dishonourable intentions towards Rosina. While the Count
pretends to give Rosina her singing lesson, Figaro arrives to shave Bartolo.
Bartolo doesn’t want to leave Rosina alone with Don Alonso, so insists that
Figaro shave him in the music room. Basilio appears but is bribed by the Count to
leave. Bartolo gets angry at the lovers and throws everyone out. Bartolo tells
Basilio to get a notary for that evening so that he can marry Rosina. Basilio leaves
and Rosina arrives. Bartolo shows the letter she wrote to “Lindoro” and tells her
that this shows that Lindoro is just messing with her for Count Almaviva. Rosina
believes Bartolo and agrees to marry him. Later that night, the Count and Figaro
climb up a ladder to get into Rosina’s room through the window. Rosina accuses
“Lindoro” of betraying her. The Count reveals his true identity and they make up.
Figaro tells them they need to leave. Basilio and the notary are heard
approaching the door. The Count, Rosina, and Figaro try to leave down the
ladder but it has been removed. The Count threatens and bribes the notary into
marrying him to Rosina. Bartolo enters with the Officer and his men, but the
marriage has already been completed.

 Use, size, and type of orchestra?

o Full orchestra
Martina Goldring

 Singing style/manner/method used here? Fach/Voice Category of principal characters in

excerpt.
o Bel canto singing
o Count Almaviva – Tenor
o Bartolo – Bass
o Rosina – Contralto/mezzo/soprano
o Figaro – Baritone
o Basilio – Bass

 Diversity in regards to compositional approach(es), performance style, target audiences,

and/or performers for this opera and excerpt?
o The role of Rosina was originally written for a contralto but it has been
transposed to suit sopranos. Most frequently, it is sung by coloratura mezzo-
sopranos, and sometimes by coloratura sopranos.
o Often, the singer playing Rosina will sing her arias transposed and with pitch
alterations.
o Although the performers in this particular excerpt are all white, the roles in this
opera can easily be colour-blind cast.

 Other important points?—YOU MUST INCLUDE THIS SECTION

o The Pierre Beaumarchais play was also adapted by other composers including
Giovanni Paisiello (Il barbiere di Siviglia, ovvero La precauzione inutile, 1782),
Nicolas Isouard (1796), Alexander Reinagle, Samuel Arnold (1794), Francesco
Morlacchi (1816)
o The character of Figaro is inspired by the Commedia dell’arte character of
Brighella
o The Mozart opera, Il nozze di Figaro is based on Beaumarchais’ La folle journee,
ou le Mariage de Figaro