“Figaro, Figaro, FI-GA-RO!” The Count is in love with Rosina, who is being forced to wed old Doctor Bartolo. Can his wily barber Figaro help him get the girl? Power relations get turned upside down in this tunefully hilarious comedy which returns in a beloved revival.
Music By: Gioachino Rossini
Libretto By: Cesare Sterbini
Sung In: Italian
Instant Translation Screen
ACT I
Count Almaviva, grandee of Spain, has seen a beautiful girl on the Prado in Madrid and has followed her to Seville. By chance he meets his former valet Figaro in front of her house, and learns she is the ward of the grumpy old Doctor Bartolo. Count Almaviva enlists Figaro’s help — for a handsome fee, of course — in freeing the lovely and spirited Rosina from her cage. He sings under her window, telling her he is the poor student Lindoro.
The ever-inventive Figaro suggests sending the Count into the household disguised as a drunken soldier.
Rosina is determined to meet and conquer her suitor, despite Bartolo’s controlling ways and his equal determination to marry her expeditiously. When Figaro convinces her that she is indeed the beloved of his poor cousin “Lindoro,” she gives him a letter to take to the boy.
Meanwhile, Don Basilio, the music teacher, gets wind of the arrival of Count Almaviva in Seville, and warns Bartolo that they must spread some evil rumor about the Count to drive him away lest he come courting their girl.
The Count comes courting indeed, demanding lodging and letting the astonished Rosina know with a wink that he’s beneath the military disguise. Bartolo refuses to billet him. The “soldier” becomes enraged. The police arrive to arrest him, but Count Almaviva secretly shows them proof of his identity and he is released, to the amazement of all.
ACT II
Bartolo is lost in thought. Might the soldier have been a spy? A visitor enters and introduces himself as “Don Alonso” (Count Almaviva), arriving to give the girl a music lesson in place of Don Basilio, who he says is ill. “Alonso” gains Bartolo’s confidence by showing him a letter written by Rosina to the Count, and offering to tell her that a mistress of Count Almaviva’s gave it to him, as a way to dissuade the girl from her crush. Rosina comes out reluctantly, but again recognizing “Lindoro” beneath the disguise, is suddenly delighted to sing for the visiting teacher.
Figaro enters, ready to shave and trim Bartolo, and contriving to get a key to Rosina’s balcony. But who should then appear but Don Basilio, in perfect health. Count Almaviva hastens the course of his illness with a quick bribe, and the others shoo him out. The Count whispers to Rosina that he and Figaro will come at midnight to whisk her away to wedded bliss. Bartolo overhears and, realizing he’s been tricked again, chases them all out in a fury.
Later Bartolo shows Rosina her own note, telling her the Count is merely toying with her. Rosina, thunderstruck, discloses the escape plan and agrees to marry Bartolo after all. At midnight, during a thunderstorm, Figaro and the Count arrive for the elopement, and a livid Rosina confronts them. It’s “Lindoro” she wanted, nothing to do with “your vile Count Almaviva.” The “vile” one reveals himself, and the three are overjoyed — but their joy turns to panic when Figaro realizes the ladder by which they entered has been moved. The doctor has foiled their escape.
A notary enters, followed by Basilio, who after another friendly financial inducement from the Count, agrees to serve as wedding witness. By the time Bartolo rushes back in, the deed is done, the girl has become a Countess and the dowry is the doctor’s to keep.