Dr. Bartolo, quite unsuspicious of trickery, readily agreed to this ruse, being very anxious to put an end to his ward's infatuation for the Count, who, as he of course knew by this time, was haunting the neighbourhood; and he thus consented to allow the music lesson to proceed, in order that this disturbing communication might be made to his ward.
He thereupon brought Rosina into the room, and introduced her to the supposed Don Alonzo, in whom, however, she quickly recognised her lover; and at that moment Figaro most opportunely arrived in his capacity as barber to Dr. Bartolo, in order to keep the old gentleman obligingly occupied with his toilet so that the lovers might make arrangements for their elopement, which the Count desired to carry out that night.
Very cleverly, also, the barber managed to secure the keys of certain doors usually kept locked at night, so that Rosina, at the appointed time, could reach the balcony, from whence, by means of a ladder, she could escape to her lover.
In order to disarm the Doctor's still evident suspicion, the form of a singing lesson was gone through; but, thanks to Figaro's constant chatter and deft manipulation of his client's beard, the lovers managed to exchange confidences between the snatches of music, and made all the arrangements for their elopement and secret marriage that night.
All went well until, quite suddenly, the old music-master himself appeared on the scene, very much astonished at finding his place and occupation usurped by a strange young man. Figaro, however, with his usual versatility, saved the situation by pretending that Don Basilio really looked extremely ill, and, feeling his pulse with mock anxiety, declared him to be in a high fever, and entreated him to return home to bed. The Count also, by the judicious offer of a well-filled purse, succeeded in persuading the confused professor to depart for the time being.
Dr. Bartolo's suspicions, however, were now fully roused, so that it became necessary for the Count to make a quick escape; and when he had gone the old guardian fussily produced the letter given him by the pretended musician, and endeavoured on his own account to poison Rosina's mind against her lover in the manner agreed upon. Rosina's jealousy against some unknown rival was thus quickly kindled; and angry and distressed at having been deceived, as she supposed, by the Count, she revealed the secret arrangement for her elopement that night.
The wily old Doctor quickly followed up the vantage he had scored, and now pressed his own suit; and Rosina, in a fit of pique, giving him her consent, he hurried away to make arrangements with a notary to unite them that day. Meeting with Don Basilio, and now learning from him that the strange musician and Count Almaviva were one and the same, he hurried on his plans with still greater eagerness, feeling that with such a daring rival he could not consider himself safe until his marriage contract with Rosina had been signed; and having arranged with the music-master to bring the notary along that same night, he went away to procure the officers of justice to be in readiness to arrest the Count and Figaro should they appear and endeavour to upset his plans.
But success was to be with love and youth; for the star of the Count was in the ascendant, and, with the aid of the irrepressible Figaro, he was able to accomplish his ends.
Fortunately, the elopement had been planned for the early part of the night; and as soon as darkness set in Almaviva and the barber made their appearance in front of the Doctor's house, and, by means of a ladder, succeeded in reaching the balcony. Here they were presently joined by Rosina, who, though already repenting of her jealous fit, at first repulsed her eager lover, charging him with unfaithfulness; but upon the cavalier explaining the whole matter of the letter, at the same time revealing his true identity as the Count Almaviva, she was quickly reconciled to him.