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The Barber of Seville: Difference between revisions
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The [[Opera]] we're talking about is the version composed by [[Gioachino Rossini]], and it isn't the only work by this name. Pierre Beaumarchais wrote a play, ''Le Barbier de Seville'', which was first performed in 1775; it was has been adapted a good four times, but Rossini's work gets the [[Adaptation Displacement]] Award by virtue of popularity. Its "sequel," ''[[The Marriage of Figaro]]'', was actually written some 30 years earlier by some Austrian kid named [[Wolfgang Amadeus Mozart]]. The third play in the Beaumarchais's trilogy, ''La Mere coupable'' ("The Guilty Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its [[Genre Shift]] to [[Darker and Edgier]] drama.
''The Barber of Seville'' revolves around a noble, Count Almaviva, who has a serious case of [[Love At First Sight]] with a girl named Rosina, currently living as a ward to Dr. Bartolo. The Count, who wants Rosina to love ''him'', not his title or money, has been disguising himself as a music student named Lindoro, but the two have not even had an occasion to speak yet. Help enters in the form of Figaro, the Count's former servant and the titular Barber of Seville, who has Dr. Bartolo's trust and offers his services to the
The main opposition is the aforementioned Dr. Bartolo, a physician who wants to marry Rosina himself. Rosina's music teacher, Don Basilio, is in league with him in this quest. There is also a character named Berta, also known as Marcellina, who was probably thrown in as a [[Continuity Nod]] (or [[Chekhov's Gunman]]) to Mozart's opus; she is [[The Ghost]] in Beaumarchais' play, and her role in ''Barber'' amounts to little more than a [[The Cameo|cameo]].
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