The Cadi consents, while the Calif bids the funny barber come to his palace to entertain him with his stories, and invites all present to the wedding of the betrothed pair, to the great satisfaction of the people, who sing their Salam Aleikum in praise of their Prince,—a brilliant finale, full of energy and melody.—
IL BARBIERE DI SEVIGLIA.
Comic Opera in two acts by ROSSINI.
This opera may be called a miracle of Rossini's creation, as it not only is his best work, but was written by him in a fortnight, a performance nearly incredible, for the music is so finely worked out, and so elegant, that the opera has grown to be a favorite with all nations.
The subject, taken from Beaumarchais' witty trilogy of "Figaros" had ere this lent inspiration to more than one composer; Mozart's "Figaro", though done before the "Barbiere" is in a certain sense the continuation of Rossini's opera.
The Barbiere had the peculiar misfortune, to experience an utter reverse on the occasion of its first representation. It was composed for the Duke Cesarini, proprietor of the Argentina theatre in Rome, and the cabals and intrigues of Paësiello's partisans (who had composed the same subject) turned the balance in Rossini's disfavor. But on the second evening good taste prevailed, and since then the opera has been a universal favorite.
Beaumarchais' tale was worked out anew by the Roman poet, Sterbini; in our opera it runs as follows:
Count Almaviva is enamoured of Rosina, the ward of Doctor Bartolo. She is most jealously guarded by the old man, who wishes to make her his own wife. In vain the Count serenades her; she does not appear, and he must needs invent some other means of obtaining his object. Making the acquaintance of the lighthearted and cunning barber Figaro, the latter advises him to get entrance into Bartolo's house in the guise of a soldier possessing a billet of quartering for his lodgings. Rosina herself has not failed to hear the sweet love-songs of the Count, known to her only under the simple name of Lindoro; and with southern passion, and the lightheartedness, which characterizes all the persons who figure in this opera, but which is not to be mistaken for frivolity, Rosina loves her nice lover and is willing to be his own. Figaro has told her of Almaviva's love, and in return she gives him a note, which she has written in secret. But the old Doctor is a sly fox, he has seen the inky little finger, and determines to keep his eyes open.
When the Count appears in the guise of a half-drunken dragoon, the Doctor sends Rosina away, and tries to put the soldier out of the house, pretending to have a license against all billets. The Count resists, and while Bartolo seeks for his license, makes love to Rosina, but after the Doctor's return there arises such an uproar, that all the neighbors and finally the guards appear, who counsel the Count to retire for once.