Gioachino Rossini’s Il Barbiere di Siviglia (The Barber of Seville), often regarded as one of the greatest opera buffa works, continues to captivate audiences more than two centuries after its premiere. With a lively Italian libretto by Cesare Sterbini, based on Pierre Beaumarchais’s 1775 French comedy Le Barbier de Séville, Rossini’s opera remains a cornerstone of the comedic operatic repertoire. The work debuted on February 20, 1816, at the Teatro Argentina in Rome under the title Almaviva, o sia L’inutile precauzione (“Almaviva, or the Futile Precaution”). Since then, Il Barbiere di Siviglia has enchanted audiences worldwide, and its exuberant music and witty characters continue to delight modern opera lovers.
This particular production of Il Barbiere di Siviglia features a star-studded cast, including Teresa Berganza as Rosina, Stefania Malagu as Berta, Herman Prey as Figaro, Luigi Alva as Count Almaviva, and Enzo Dara as Dr. Bartolo. Conducted by the legendary Claudio Abbado, the performance is a testament to the enduring power of Rossini’s comic masterpiece, blending vocal brilliance with impeccable orchestral mastery.
Act 1: Love and Deception in Seville
The opera opens in a bustling public square outside the house of Dr. Bartolo, a wealthy, elderly bachelor with designs to marry his young ward, Rosina. The scene introduces Lindoro, a poor student serenading Rosina’s window, who is, in fact, the young Count Almaviva in disguise. Almaviva hopes to win Rosina’s love not for his wealth, but for his true self. After bribing a band of musicians to leave, Almaviva reflects on his unrequited love.
Figaro, the resourceful barber of Seville and former servant to Almaviva, enters the scene singing the famous aria “Largo al factotum della città,” proclaiming himself the factotum of the city. Figaro, ever eager to help the Count, suggests that Almaviva disguise himself as a drunken soldier to gain access to Bartolo’s house. In exchange for Figaro’s assistance, Almaviva promises him a generous reward.
As the action shifts to Bartolo’s house, Rosina, unaware of Almaviva’s true identity, sings her spirited cavatina, “Una voce poco fa” (“A voice a little while ago”), in which she declares her love for Lindoro. Meanwhile, Bartolo grows suspicious of the Count’s intentions, and his sly confidant, Basilio, suggests that the Count should be discredited with rumors. They perform the aria “La calunnia è un venticello” (“Calumny is a little breeze”), which humorously portrays the destructive power of gossip.
Rosina, having already written to Lindoro, is convinced by Figaro to send the letter despite the lurking Bartolo. As Figaro and Rosina converse, the two are caught by Bartolo, but Rosina cleverly tricks him. In a series of humorous twists, Almaviva, disguised as a drunken soldier, arrives at the house, causing chaos and confusion. Bartolo, suspecting something amiss, tries to expel the soldier but is foiled. The scene culminates in a comical confrontation between the Count, Bartolo, and the officer of the watch, leading to Almaviva’s release and Rosina’s mocking of Bartolo’s incompetence.
Act 2: Schemes, Disguises, and Marriage
The second act begins with another clever disguise by the Count, who now assumes the role of a singing tutor, claiming to replace the ailing Basilio as Rosina’s music teacher. Though initially suspicious, Bartolo allows Almaviva into the house upon receiving a letter from Rosina. Figaro, ever the schemer, arrives to shave Bartolo, but the scene becomes more farcical as the Count and Rosina continue their plans.
Basilio eventually appears, but is bribed by the Count to leave the scene, furthering the plot to thwart Bartolo’s marriage plans. The quintet “Don Basilio! – Cosa veggo!” (“Don Basilio! – What do I see?”) is a lively ensemble piece that heightens the comedic tension. As Figaro proceeds with the shave, Bartolo overhears the conspiratorial chatter and grows more suspicious, driving everyone out of the room.
Meanwhile, Rosina’s faith in Lindoro is shaken as Bartolo manipulates her into believing that Lindoro is nothing more than a servant of Almaviva, intent on using her. Heartbroken, Rosina agrees to marry Bartolo, unknowingly falling into the trap laid by her guardian. The Count, however, will not be deterred. With Figaro’s help, Almaviva and Rosina attempt to flee together.
In a thrilling turn of events, the Count and Figaro climb a ladder to reach Rosina’s room, only for the ladder to be removed by Bartolo, who hopes to prevent their escape. The Count, ever resourceful, offers Basilio a bribe to witness the marriage contract, threatening him with violence if he refuses. Basilio, eager to accept the bribe, agrees to become a witness to the secret marriage.
When Bartolo bursts in, furious, he is too late. His plans thwarted, Bartolo reluctantly allows the marriage to take place, accepting Rosina’s dowry as compensation. The opera concludes with a joyful celebration of love and wit, as the Count and Rosina are united, and the scheming Bartolo is left to bemoan his fate.
The Enduring Appeal of Il Barbiere di Siviglia
Rossini’s Il Barbiere di Siviglia endures as a quintessential example of opera buffa, blending sharp wit, delightful music, and unforgettable characters into a timeless masterpiece. The lively overture, the soaring arias, and the effervescent ensembles all contribute to the opera’s charm, making it a staple of opera houses worldwide. The success of the La Scala production, under Claudio Abbado’s direction, showcases the opera’s brilliance through the exceptional performances of Teresa Berganza, Stefania Malagu, Herman Prey, Luigi Alva, and Enzo Dara.
Whether through the clever machinations of Figaro, the sweet romance between Almaviva and Rosina, or the humorous antics of Dr. Bartolo, Il Barbiere di Siviglia remains a testament to Rossini’s genius and its continued relevance in the world of opera.
