Il barbiere di Siviglia

Gioachino Rossini

Gioachino Rossini (1792–1868) was the most celebrated Italian composer of his age, a master of both opera buffa and opera seria. Born in Pesaro, he penned nearly forty operas before the age of thirty-seven, including immortal works such as “Il barbiere di Siviglia,” “La Cenerentola,” and “Guillaume Tell.” “Adina, ovvero Il Califfo di Bagdad” (1818), though lesser-known, showcases all the melodic wit, rhythmic verve, and vocal brilliance that made Rossini the darling of Europe.

Rossini’s distinctive style, characterized by elegant melodies, rapid vocal passages, lively rhythms, and inventive orchestration, had a profound influence on nineteenth-century opera. His music combines theatrical energy with remarkable technical precision, allowing singers to display both virtuosity and expressive range. Even today, his operas remain staples of the international repertoire, admired for their wit, brilliance, and enduring freshness.

After retiring from the operatic stage at the height of his fame, he spent his later years in Paris as a revered cultural figure and gourmet.

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Il barbiere di Siviglia is a comic opera in two acts by Gioachino Rossini, with a libretto by Cesare Sterbini, which was first performed in Rome in 1816. The story is set in Seville in the 18th century. The Count of Almaviva, who is in love with Rosina, the ward of the elderly and miserly Dr Bartolo, disguises himself as the poor student Lindoro in order to court her without revealing his rank. The shrewd barber Figaro, the town’s jack-of-all-trades and a friend of the Count, devises a plan to get him into Bartolo’s house; Bartolo intends to marry the young woman to get his hands on her dowry. With the help of a letter and a courtship duet, the Count manages to get a message across to Rosina, who returns his feelings and agrees to elope with him.

In the second act, the Count arrives at Bartolo’s house disguised as the music teacher Don Alonso, pretending to stand in for the ailing Don Basilio. During the lesson, amidst misunderstandings and subterfuge, Rosina discovers her lover’s true identity. Bartolo, growing suspicious, calls the guard and the drunken ‘soldier’ bursts in (once again the Count in yet another disguise). Amidst the general chaos, with the arrival of Don Basilio and a fake notary, Figaro and the Count manage to have the marriage between Almaviva and Rosina solemnised right under Bartolo’s nose. The old doctor, defeated, accepts the fait accompli, and the Count, having revealed his true identity, forgives everyone: the opera ends in a triumph of joy and happy marriages.

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