[Opera buffa, in three acts; text by Piave. First produced in Venice, in 1850.]
PERSONAGES.
Annetta, the cobbler’s wife. La Comare, the fairy. Crispino, the cobbler. Il Contino, the Count. Dr. Fabrizio. Dr. Mirobolante. Don Asdrubal. Lisetta.
[Clerks, waiters, servants, etc.]
The scene is laid in Venice; time, the last century.
The first act of this charming little fairy opera opens with a unison chorus of apothecary’s apprentices, “Thump, thump” (“Batti, batti”). Crispino, a poor cobbler, over head and ears in debt, whose wife Annetta tries to help him out by ballad singing, is seated at his bench at work in front of his house. In the intervals of the chorus the Count, who figures in a side plot, sings a beautiful romanza, “Thou Beauteous as an Angel art” (“Bella siccome un angelo”). Then Crispino bewails his hard fortune in a quaint melody, “Once a Cobbler” (“Una volta un ciabattino”), after which Annetta introduces herself with a canzonetta, “My Pretty Tales and Songs” (“Istorie belle e leggere”), leading up to a minor duet between them. In the sixth scene a buffo aria, “I am a Bit of a Philosopher” (“Io sono un po’ filosofo”) is sung by Dr. Fabrizio. At last Crispino gets into such desperate straits that he resolves to make way with himself. He is about to jump into a well when a fairy appears and dissuades him, at the same time giving him a purse of gold and offering to set him up in business as a doctor, telling him he must look about him whenever he has a patient, and if she is not present he will be successful. The act closes with a duet for Crispino and Annetta, “Since you have found a Fairy” (“Troffo so, basta per ova”).
The second act discloses Crispino in the midst of a nourishing business, and the delighted Annetta sings a joyous little melody, “I no longer am Annetta” (“Io non sono piu l’Annetta”). A workman who has met with an accident is brought to Crispino for treatment, and as the fairy is not present he is successful. The musical treatment of the healing scene is worked up with great skill. It begins with a baritone solo, leading up to a duet with soprano and chorus accompaniment. A sextette then takes up the theme, and in the close all on the stage give it with impressive effect. A broadly humorous but very melodious trio of the doctors follows, “Sirs, what means this Quarrel?” (“Ma Signori, perchè tantes questione?”). In the next scene Annetta sings the pretty Fritola song, “Pietro, Darling, this Cake so Tempting” (“Piero mio, go qua una fritola”), in which she boasts the merits of a cake she has made for the Carnival. Meanwhile Crispino grows so puffed up with his wealth that when Annetta invites some old friends to the house he drives them out, and is about to strike Annetta when the fairy suddenly appears.
In the last act the fairy has taken Crispino to a cavern, where she shows him crystal vases in which more or less brilliant lights are burning. She tells him that each represents a human life. The one burning so brightly is Annetta’s, the one so dimly is his own. When he asks her to take some oil out of Annetta’s lamp and put it into his, she upbraids him, reveals herself as death, and tells him to make his last request, for he is about to die. In a doleful ballad, “Little I ask, Dearest Fairy” (“Poco cerco, O mia Comare”), he asks for only a half-hour more, so that he may see Annetta and the children. A sudden change of scene shows him in his own house, awaking from sleep in his chair. As he realizes that it has been only a nightmare, occasioned by a sudden fit of illness, he expresses his delight and Annetta expresses her joy in a brilliant waltz movement, “There’s no Joy that e’er hath given me” (“Non ha gioja in tal Momento”), which closes the opera.
ROSSINI, GIOACHINO ANTONIO.
The Barber of Seville.
[Opera buffa, in two acts; text by Sterbini. First produced at the Argentina Theatre, Rome, February 5, 1816.]
PERSONAGES.
Rosina, ward of Dr. Bartolo. Berta. Figaro, the barber. Count Almaviva, lover of Rosina. Dr. Bartolo. Basilio, a music-master.
[Officers, soldiers, etc.]
The scene is laid in Seville; time, the eighteenth century.
The story and the music of “The Barber of Seville” are as fresh and delightful as when the opera was first produced eighty-six years ago. Its story is almost as familiar as household words, and no music has been more popular on the operatic stage than its gay, brilliant arias. Count Almaviva loves Rosina, the ward of Dr. Bartolo, who wishes to marry her himself, but the Count is unable to get an interview with her until it is arranged for by Figaro, the factotum of the place. In spite of Bartolo’s watchfulness, as well as that of Don Basilio, her music-teacher, who is only too willing to serve Bartolo, she succeeds in writing to the Count and telling him that his love is returned. With Figaro’s help the Count gets into the house disguised as a drunken dragoon, but is promptly arrested. The next time he secures admission as a music-teacher upon the pretence that Don Basilio is sick, and has sent him to give Rosina her lesson. He further hoodwinks Bartolo by producing the letter Rosina had written to himself, and promises to persuade her that the letter has been given him by a mistress of the Count, which will break the connection between the two. He secures the coveted interview, and an elopement is planned. The unexpected appearance of Don Basilio, however, upsets the arrangements, and the disconcerted lover makes good his escape. In the mean time Bartolo, who has the letter, shows it to his ward and arouses her jealousy. She thereupon promises to marry her guardian. At the time set for the elopement, the Count and Figaro arrive. A reconciliation is speedily effected, and the Count and Rosina are married just as Bartolo makes his appearance with officers to arrest the Count. After mutual explanations, however, all ends happily.
The opera opens, after a short chorus, with the Count’s serenade, “Lo, smiling in the Orient Sky” (“Ecco ridente in cielo”), one of the most beautiful numbers in the opera. In the second scene Figaro sings the lively and well-known buffo aria, “Make Room for the Factotum” (“Largo al factotum”). A light and lively duet between Figaro and the Count leads up to the chamber aria of Rosina, “The Voice I heard just now” (“Una voce poco fa”), which is not only very expressive but remarkably rich in ornamentation. In the next scene occurs the calumny aria, “Oh! Calumny is like the Sigh” (“La Calunnia è un venticello”). It is followed by a florid duet and a dialogue between Rosina and Bartolo, closing with the bass aria, “No longer conceal the Truth” (“Non piu tacete”). The finale is composed of three scenes full of glittering dialogue and melodious passages.
The second act opens with a soliloquy by Bartolo, interrupted by a duet with the Count. The music-lesson scene follows in which the artist personating Rosina is given an opportunity for interpolation. In the next scene occurs a dialogue quintette, which is followed by a long aria for Bertha, “There is always Noise” (“Sempre gridi”), which the Italians called the “aria de sorbetto,” as they used to eat ices while it was sung. In the eighth scene, after a long recitative, an instrumental prelude occurs, representing a stormy night, followed by recitative in which the Count reveals himself, leading up to a florid trio, and this in turn to the elegant terzetto, “Softly, softly, no Delay” (“Zitti, zitti, piano, piano”). A bravura and finale of light, graceful melody close the opera.