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University Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8526128

Little, Ricky Ricardo

A COMPARATIVE STUDY OF "LE BARBIER DE SEVILLE", THE ORIGINAL PLAY, AND THE TWO OPERAS, "IL BARBIERE Dl SIVIGLIA" BY GIOVANNI PAISIELLO AND GIOACHINO ROSSINI

The Ohio State University D.M.A. 1985

University Microfilms

International 300 N. Zeeb Road, Ann Arbor, Ml 48106

Copyright 1985 by Little, Ricky Ricardo All Rights Reserved A COMPARATIVE STUDY OF "LE BARBIER DE SEVILLE", THE ORIGINAL PLAY, «ND THE TWO OPERAS, " IL BARB IERE Dl S IV IG LIA " BY GIOVANNI PAISIELLO AND GIOACHINO ROSSINI

Document

Presented In Partial Fulfillm ent of the Requirements for

the Degree Doctor of Musical Arts In the Graduate

School of the Ohio State University —

By

Ricky Ricardo L ittle , B.A., M.A.

*****

The Ohio State University

1985

Reading Committee: Approved by:

Marshal I Barnes 7 ) r t y d / r Paul HIckfang AdvIser Mary Tolbert School of Music Copyright by

Ricky Ricardo L Ittl e

1985 This work Is lovingly dedicated to my wonderful family.

I thank God for alI of you.

I I PREFACE

"Le Barbler de Seville” has been acclaimed a masterpiece In the areas of theater and opera. Without question It has proved Its e lf to be a favorite among c r itic s and fans In both areas. When f i r s t conceived Its creator, the playwright/composer Pierre Augustin Caron

Beaumarchais, recognized Its potential as a musical form and thus set

It as an opera. Unable to get his composition performed he later rewrote the lib re tto as a play which was soon crowned with great success throughout the European continent rivaling the great works of

Mol I ere. The play also became a favorite of those who worked In the world of music. The most convincing evidence which speaks to Its great popularity amongst musicians Is the fact that "Le Barbler" has been transformed Into operas by no less than thirteen composers. There are two obvious reasons why It has appealed to so many musicians. First,

It Is a delightful, excellently written work. Second, It contains several scenes which require the use of music. This makes It easier to adapt to musical settings. Examples of these musical scenes are: the

Count's serenade to Roslne (Act I); Roslne's music lesson with the

Count (Act III) ; Bartholo's song which he sings as an example of his favorite music (Act 111); and Bazlle's calumny speech, which, though It does not require any music In the play, Is naturally given to musical composition because of the wording and content of the text.

The two composers who have achieved the greatest success with "Le

Barbler" are Giovanni Palslello and Gloachlno Rossini. Of the many

i l l composers who have set this work, only the operas of these two men have been acclaimed as "masterpieces." Though Pal si el I o's version has succumbed to Rossini's In terms of popularity and appeal, It Is s t ill considered a fine example of eighteenth century opera buffa. Rossini's work has been hailed as the greatest nineteenth century opera buffa ever written.

This document has three central objectives. The first objective

Is to show the origin and development of "Le Barbier" as It evolved from the life and times of Its creator, Pierre Beaumarchais. The second objective Is to determine what treatment was accorded the play as It was transformed Into lib re tto form by the lib re ttis ts Giuseppe

Petroselllnl and Cesare Sterblnl. The final objective of this work Is m ulti-fold. It Involves an analytical study which Is designed to make a comparison of the sim ilarities and differences found In these two operas. The areas which w ill be explored Include, structural format and size of each opera, voice classifications of characters, the music of each character, vocal demands, musical development of the plot, and the use of Instrumentation. This comparison w ill also point out other significant s ty lis tic features which are evidenced In these two works as peculiar to each composer.

I would like to express my sincere gratitude to Professor Mario

Alch who has served as my adviser for the entirety of my doctoral studies, but due to obligations In Europe could not continue through the completion of this document. My deepest thanks are also extended to Dr. Marshal I Barnes who not only served as a member of my committee, but also accepted the added responsibility of being my adviser once

Professor Alch could no longer continue. To my voice teacher and friend, Professor Paul Hickfang, I am greatly Indebted for the many years of unceasing hard work which he has Invested to make me Into a singer. My sincere thanks also go to Professor Mary Tolbert for her continued support and the lessons which she has taught me In creative thinking. Final thanks go to Karen Hubbard for her generous help In preparing this document for print.

v VITA

July 11, 1954 Born, Winston-Salem, North Carolina

1980 Bachelor of Arts Degree, Oakwood College, Hunfsvllle, Alabama

1980-82 Special University Fellow, The Ohio State University

1981 Master of Arts Degree, The Ohio State University

1981-85 Doctoral Studies In Music, The Ohio State University

1982-85 Graduate Teaching Associate, The Ohio State University

1984 Professional Studies and Performances, The American Institute of Musical Studies, Graz, Austria, Sexton, Ita ly , and Toblach, Italy. DIether Haenlke Grant, Raffael Nedomansky— StlpendI at

MaJ or Field: Voice Performance

Studies In Applled Voice: Professor Paul Hickfang

Studies In Oratorio and Operatic Literature: Professor Mario Alch Professor Roger Stevens

Studies In German Art Song Literature: Professor Mario Alch

Studies In Contemporary Art Song Literature: Professor Irma Cooper

Studies In Music History: Professor Charles Atkinson Professor Herbert Livingston Professor Alexander Main Professor Keith MIxter

Studies in Music Theory: Professor Marshall Barnes Professor David Butler

Studies In Vocal Pedagogy: Professor Helen Swank

vl Baritone soloist In Messa PI Gloria by Glacoma Puccini, and Carmlna Burana by Carl Orff. Performed on Tuesday, March 2, 1982 at 8:00 p.m. In Weigel Auditorium.

Presented In partial fu lfillm e n t of the requirements for the degree Doctor of Musical Arts.

Pr-Q.gr an

Messa DI G lo r ia ...... Giacomo Puccini

Mark Davis, tenor Ricky Little, baritone David Dennis, bass

The Ohio State University Symphonic Choir Linda Nolan, organist Maurice Casey, conductor

Carmlna Burana...... Carl Orff

Lori Borden, soprano Dave Johnson, tenor Ricky Little, baritone

The Ohio State University Symphonic Choir Children's Choir, Worthington Public Schools, Rebecca Burns, director

Carol Schwartz, Linda Nolan, pianists Calvin Bolton, Bret Kugler, Joe S toll, Scott Sorley, percussion John CurtIs, tlmpanl Maurice Casey, conductor

Rsci±aJ,_1

Ricky Little, baritone Graduating Recital Series, 1983-84, Tuesday, April 17, 1984, 8:00 p.m., Weigel Auditor I urn.

Mary Kanpp, piano Supervised by: Professor Hickfang

Presented In partial fu lfillm e n t of the requirements for the degree Doctor of Musical Arts.

vl I fragr-am

"Why do the nations so furiously rage together?" ...... George from the oratorio Messiah Frlederlch Handel

I I

Lleder elnes fahrenden Gesel len Gustav Mahler

Wenn mein Schatz Hochzelt macht GIng heut Morgen liber’ s Feld Ich hab1 eln gliihend Messer Die zwel blauen Augen von melnem Schatz

IntermIsslon

"Erl tu che macchlavl" ...... Giuseppe Verdi from the opera Un BalIo In Maschera

IV

Psyche ...... E. Pal ad 11 he Beau Solr ...... Claude Debussy Fleur Jetee ...... Gabriel Faure

V

Ride On, King Jesus ...... arr. Hall Johnson Here’ s O ne ...... arr. Ricky L ittle Your Tired C hile ...... arr. Roland Hayes L it'I Boy arr. Roland Hayes My Souls Been Anchored In de Lord ...... arr. Florence Price

Recital 3

Baritone soloist In the Stabat Mater by Gloachlno Rossini. Performed on Saturday, May 12, 1984 at 6:00 p.m. In the Oakwood College church, Huntsville, Alabama.

Presented In partial fu lfillm e n t of the requirements for the degree Doctor of Musical Arts.

Stabat Mater .Gloachlno Rossini Michele Cleveland-Ammons, soprano Beverly Vaughn, mezzo-soprano Stanley Ware, tenor Ricky Little, baritone

The Inez L. Booth Choral Society Members of the Huntsville Symphony Orchestra John T. Dennison, conductor

Recital 4

Ricky Little, baritone Graduating Recital Series, 1984-85, Wednesday, May 1, 1985, 6:00 p.m., Weigel Auditorium

Mary Knapp, piano Supervised by: Professor Hickfang

Presented In partial fulfillm e n t of the requirements for the degree Doctor of Musical Arts.

Ppagr.am

RIvolgete lul lo sguardo W.A. Mozart

I I

Johannes Brahms

Denn es gehet dem Menschen Ich wandte mlch 0 Tod, wie b itte r blst du Wenn Ich mlt Menschen und mlt Engelszungen redete

I I I

Don Ouichotte ...... Maurice Ravel

Chanson romanesque . Chanson eplque Chanson a bo I re

Intermission

Ix IV

Five Mystical Songs...... Ralph Vaughn WII I lams

Easter I got me flowers Love bade me welcome The calI Antiphon

V

"I Got Plenty O'Nutt In ' " Geroge Gershwin from Porgy and Bess

Crown and Bess Duet ...... Geroge Gershwin from Porgy and Bess assisted by Gloria Johnson

x TABLE OF CONTENTS

Page

Dedication ...... N

Preface ...... I ll

V i t a ...... vl

Chapter I. Beaumarchais and His F irst Masterpiece ...... 1

Chapter II. "Le Barbler de S e v ille " ...... 11

The PI o t ...... 11 The Characters ...... 15 The Music ...... 19

Chapter III. "II Barb I ere dI SIvIglla" By Giovanni Palslel lo and Gloachlno Rossini...... 22

Palslello and Rossini: The Composition of the Two "Barbiere". 22 Comparison of the Libretti and the Play ...... 32 Musical Analysis ...... 60

Chapter IV. Summary ...... 83

Append I x A ...... 84

Append Ix B ...... 86

Blbl lography ...... 88

xl CHAPTER ONE

BEAUMARCHAIS AND HIS FIRST MASTERPIECE

Pierre-Augustln Caron Beaumarchais was a very colorful personality

In his time. He was In the true sense a man of many talents. Within his lifetime he occupied a vast array of occupations and maintained diverse associations (personal and business) which not only contributed to his fame and fortune but also to his misfortune and poverty. His life was one continuous, unfolding drama of the highest interest, which contained enough intrigue to f i l l the lives of three average people.

Some of his a c tiv itie s , accomplishments, and occupations Included watchmaker and Inventor of the modern watch escapement; o ffic ia l

"Watchmaker to the King;" Controleur Clerc d'Offlce de la Maison du

Roi; music teacher to the four daughters of King Louis XV; designer of a new pedal system for the harp; financial wizard and business man — an e n tr e p r e n e u r who made s e v e ra l f o r t u n e s ; a s u c c e s s fu l dueler-swordsman; a Judge at the Louvre Tribunal — "Lieutenant General des Chasses aux Baillage et Capltalnerie de la Varenne du Louvre"; husband three times and father of two; received by Charles III of

Spain; literary giant and publisher of his famous memoirs, and the complete works of Voltaire; playwright, considered one of the best of all times, lib re ttis t, and music composer; prisoner (more than once), exile, and citizen with restricted c iv il rights; involvement for many years In several huge lawsuits; forester; secret agent for Louis XV and

Louis XVI; reception by Empress Marla Theresa, Empress of Germany and mother of Marle-AntoInette — wife of Louis XVI; owner of Roderlgue

1 Hortalez and Cle — an organization secretly backed by the French government, which, under Beaumarchais's direction, supplied arms to the

Americans during much of the American Revolution; a c tiv is t In helping playwrltes obtain their fu ll rights under French law; and owner of a smalI naval fleet.

Beaumarchais was a collage of creative talents. He possessed daring, vlbrance, pride, resilience, resourcefulness, charm, naivety and a tremendous wit, which all contributed to his success In life . It

Is no surprise then, that as a hobby, he could produce such great works as "Le Barbler de Sev11le" and "Le Marlage de Figaro." Not a full-tim e w riter, Beaumarchais wrote mostly In his leisure time.

Pierre was born Into the family of Andrea and Marla-Loulse Caron, on January 24, 1732. He was the third eldest and only surviving son of the six Caron children (four died In Infancy). The home of the Carons was located on the top level of a small house on the Rue Saint-Denis, which was located In a very busy section of Paris. The ground level of the house was used as a workshop for P ierre's father, who was a watchmaker. Into these humble surroundings Pierre was born, with the prospect that he too as the only son would follow In his father's footsteps In becoming a watchmaker.

At the age of nine, Pierre was sent to a boarding school located

In the Paris suburb of A lfort to receive his formal education. Before this time he was tutored by his mother. He was also given religious

Instruction by an elderly monk at Vincennes, which was located near

A lfort. Pierre's training at the boarding school lasted only until he was thirteen years old. It was cut short because he was not a very diligent student. Upon his removal, he was brought home and made an apprentice In his father's watch shop. The f ir s t months In his new position were trying ones for the young Caron. It was not a part of his nature to s it hours on end to llin g over work In which he had very l i t t l e Interest. Pierre's lax working habits, combined with other problems, brought him and his father Into constant conflicts which soon resulted In Pierre's expulsion from the home. After a period of reconciliation, however, Pierre was allowed to return. Over the next three years the young lad developed a serious Interest in the science of watch making. His diligent study and resourcefulness resulted In the Invention of a new escapement for the watch, which, according to

Grendel, "revolutionized a craft that had existed for five centuries before" his time, and which has lasted until the present day, two centuries laterJ Pierre's Invention was quickly stolen by a Monsieur

Lepaute, an acquaintance of the elder Caron. He was a "giant" in the watchmakers trade, and held the o ffic ia l t i t l e of "Watchmaker to the

King." Pierre charged Monsieur Lepaute with the ft before the Royal

Academy of Science which justly returned a verdict In Pierre's favor.

Lepaute was discredited and his position as the "Watchmaker to the

King" was given to the twenty-two year old Caron.

This new position elevated Pierre's social status and gave him access to the court of Versailles which was then under the rule of

Louis XV. Because of his invention, Pierre was also granted an audience with the king who placed an order with the young inventor for

^Frederic Grendel, Beaumarchais; The Man Who was Figaro, trans. Roger Greaves (London: Macdonald and Jane's Publishers Limited, 1977), p. 6. 4 a watch which was to go to the King's mistress, Madame de Pompadour.

Pierre was further entrenched In the ways of royalty when he purchased the appointment "Controleur Cl ere d'Of flee de la Mai son du Roi" from

Pierre-Augustin Francquet who was also "Controller of the M ilitary

Chest." Francquet's wife, Madelelne-CatherIne, had actively pursued

Pierre, fallen in love with him, and was most influential In helping him secure the position of "Controleur" from her husband. A deep love grew between the two and was evidenced In the ir marriage, which took place In November, 1756, ten months after Monsieur Francquet's death which occurred two months after Pierre bought the appointment. After his marriage Pierre's life took a new direction. He adopted the "nom de guerre" of Beaumarchais which was the t i t l e of an estate owned by his new wife. This was a common custom practiced In France during that time. He also gained Independence from his fa th e r's house and separated himself from the trade of watchmaker. Unfortunately, however, ten months after their marriage, Madame Beaumarchais died of what is thought to have been typhoid fever.

In 1759 Beaumarchais was Introduced to the four daughters of Louis

XV by Due de la Valllere, a very Influential nobleman who had met

Beaumarchais at Versailles. Beaumarchais developed a relationship with the four princesses which lasted for four years, with Monsieur

Beaumarchais assuming the position of music teacher and friend. Around the same time he became a close friend of Joseph ParIs-Duverne, who, along with his three brothers, were four of the most powerful men economically and p o litic a lly In all of France. Through this Important association Beaumarchais was able to make many strides In life , one of which Included earning his fir s t fortune. Beaumarchais's Inauguration

into royalty occurred In 1761 when he became a nobleman by purchasing the o ffic e of "Lieutenant General des Chasses aux B a illa g e et

Capltalnerle de la Varenne du Louvre." He served In this capacity as a judge for a total of twenty-two years.

His Installment Into royalty marks the half-way point In his life at which time he began to devote his energies to the w ritin g of literature. Beaumarchais wrote his f ir s t "Parades" In 1757.2 He used them as evening entertainment for hfs family and friends. His first major drama, "Eugenie," premiered on January 25, 1767, at the Theatre

Frangals (later renamed Comedle Frangalse), eight years after he had begun work on the play. It did not have very much success although

Beaumarchais took great pains to draft seven different versions of the pi ay.^ His next drama, "Les Deux Amis," was f ir s t performed at the

Comedle Frangalse on January 13, 1770. Lemaltre states that It was written "to Illustrate the life of the businessmen of the time, with particular emphasis on the moral principles that the best of them followed in transactions and dealings."4 This play was

2 "A sketch usually played by the actors of the theaters located at fairgrounds. It was performed outside the theater In order to entice the public to attend the main performance. This genre became Increasingly popular at the end of the reign of Louis XIV, when the people, harassed by the miseries of that period, found seme distraction In such sketches. Following the model of the Commedia del I'arte, the parades were largely Improvised. With the advent of the eighteenth century, they were no longer meant to attract common folk only." (Joseph Sungolowsky, Beaumarchals. CNew York: Twayne Publishers, Inc., 1974), p. 63.]

■^Rene Dels^me, Beaumarchal £: 1732-1799, trans. Hannaford Bennett (New York: G.P. Putnam's Sons, 1929), p. 66. 4 Georges Lemaltre, Beaumarchals. (New York: Alfred A. Knopf, 1949), p. 85. 6 a complete failure, and was performed only a very few times.

Five years later, In 1775, Beaumarchais's "Le Barbler de Seville"

(ou "La Precaution Inutile") was produced at the Comedle Frangiase on

February 23. According to Lemaltre, this comedy "placed Beaumarchais at the forefront of the playwrights of his day and secured for him an outstanding place among the best French dramatists of all times."5 He wrote the first draft of "Le Barbier" in 1766, after seeing a private performance of Noland de Fatouvllle's "La Precaution Inutile."® Some scholars believe that "Le Barbler" had its origins in one of

Beaumarchais' "Parades". "Le Barbier" was f ir s t conceived and written as a comic opera with spoken dialogue. It included Spanish airs which

Beaumarchais had brought back from Madrid and had arranged, according to Lomenie, in the "French style."? His opera was refused performance, however, by "Cornedie-Ital ienne," a company of Ita lia n actors, and evidently the only company In Paris which could have produced

Beaumarchais' opera. When Beaumarchais had fir s t approached the actors about the opera, they had seemed favorably disposed toward the work, but later rejected it. The cause for this refusal was attributed to the principal actor of the troupe. It seems that the actor, whosename was Clalrval, had been a barber In his younger days, and did not want this particular episode of his life recalled on stage.

5JJlUL, p. 159.

6 1bld.P p. 81.

\ o u is De Lomenie, Beaumarchais and His Times, trans. Henry S. Edwards, (New York: Harper & Brothers Publishers, 1857), p. 249. Disappointed, but not defeated, Beaumarchais rewrote his opera

Into a four act comic play. It was then presented to the Comedle

Franglase, accepted and scheduled for I t ’ s premiered performance on

February 12, 1773. Unfortunately, before opening night arrived,

Beaumarchais had become Involved In an open dispute over a lady friend, which resulted In his Incarceration. This public embarrassment was reason enough for the theater to postpone the premiere of "Le Barbler".

Exactly one year later It was again rescheduled for Its premiere performance but was stopped twice and banned by authorities because of the controversy which surrounded Beaumarchais's tria l with La Blache lawsuit and the related Goezman scandal.® It was not until 1775 that the ban on "Le Barbier" was lifte d and the play was allowed to be performed. This was due mainly to Marle-Antolnette's Influence. By this time the Goezman a ffa ir was over and Beaumarchais had served both

Louis XV and XVI as a secret agent.

Before the opening performance Beaumarchais decided to add more dialogue to "Le Barbler," which significantly Increased Its size. The reason for this addition was the ban which had been Imposed on the play. The authorities had asserted that the play contained attacks against the government which was not true. The play had already passed

8 •• Goezman was the judge who tried Beaumarchais's case against La Blache (heir apparent of ParIs-Duverney — Beaumarchais's close friend and business partner). La Blache contested the portion of Duverney's w ill which was bequeathed to Beaumarchais. Goezman had accepted a bribe from Beaumarchais as payment In exchange for time In which he could plead his side of the case (a widely practiced custom In those days). After Goezman ruled In favor of La Blache, Beaumarchais sought to recover his bribe. All of the transactions had been handled by Goezman's wife, who had refused to return a I but fifteen louls of the bribe. A scandal started to develop and Goezman was ordered to ask Parliament for a legal Inquiry. Beaumarchais, Goezman and his wife were all found guilty and punished. 8 police Inspection In 1773 and had been given the approval of Police

Censor Frangols Marin, who had also approved Beaumarchais's f ir s t two dramas ("Eugenie" and "Les Deux Amis"). To avenge th is unjust accusation, Beaumarchais decided to Include In his play the very things which the authorities sought to prohibit. Concerning this he wrote, "I am called a rogue, a thief and a lia r. I am not one or the other. To show the people that they are right le t me act as such. My play Is said to contain attacks and allusions which are not In It. Let me put them In.Beaum archais expanded "Le Barbler" to five acts, and according to Dals&me, "Saturated it with b itte r and ruthless gibes at the times and the courts; he Included the famous eulogy of slander delivered by Basil; overlaid It with tirades, Jeers and Innuendoes against a ll and sundry and long drawn out and varied scenes of unnecessary p r o lix ity ." ^ Sungolowsky also notes that "some of the allusions also pointed to Beaumarchais's CslcU misfortunes as an author, to his tria ls , and to his adventures as a secret agent, none of which were directly relevant to the plot. Other additions were more amusing and indicative of Beaumarchais's Gallic s p irit.

A huge crowd turned out to see "Le Barbler" on opening night

(February 23, 1773), but was highly disappointed. The play turned out to be long and boring. Beaumarchais was advised to rework the play, remove the unnecessary additions, and return the work to its original four act setting. This he did In record time, and by the second

9 \ Dal seme, op. c lt.., p. 209.

10iLL£k, p. 209.

^Sungolowsky, op. c l t . . p. 70. performance, which was given on February 25, he had created a masterpiece. The public received this and all subsequent performances with overwhelming applause, and according to Dal seme, "Beaumarchais was hailed as the legitimate successor of Mol I ere. "12 Drummond also notes that, soon after "Le Barbler's" successful debut In Paris, It was

"translated Into nearly every European language for performance In the major cities of the Continent."^

Beaumarchais later added to his credits "Le Mar I age de Figaro"

(1780) and "La Mere coupable" (1791), both of which are sequels to "Le

Barbler de Seville" and contain allusions to Beaumarchais's own personal lif e and views. "Le Marlage de Figaro," In particular, contains much of Beaumarchais' own political sentiments, which were considered to be revolutionary. Grendel states that, "when Louis XVI, who was genuinely fond of Beaumarchais, read the manuscript of 'The

Marriage' In 1782, his reaction was Immediate: 'We should have to destroy the B astille If a performance of this play was not to be a dangerous blunder. This man mocks everything that must be respected In a government."14 Beaumarchais also wrote the lib re tto for his opera

"Tarare." He had originally negotiated with the famous composer

Christoph Gluck to write the music for the opera, but Lemaltre says that "Gluck politely declared that he was much too old to compose the musical score of so Important a work," and kindly directed

1 9 Dal seme, op. c l t . . p. 210.

^John D. Drummond, Opera In Perspective. (London: J.M. Dent & Sons, Ltd., 1980), p. 194. 14 Grendel, op. c l t . . p. 211. 10

Beaumarchais' attentions to one of his best pupils, Antonio Salieri, who subsequently agreed to undertake the taskJ^

As Is well known, Beaumarchais' "Le Barbler de Seville" and "Le

Marlage de Figaro" have both been Immortalized In the world of music through the operas of Palslello, Rossini, and Mozart. Before discussing

Palslel lo's and Rossini's musical treafment of "Le Barbler," a closer examination will be made of the play and the Influences which contributed to Its shaping.

15 Lemaltre, op. c l t . . p. 296. CHAPTER TWO

"LE BARBIER DE SEVILLE"

The Plot

The plot of "Le Barbler" did not originate with Pierre

Beaumarchais. It existed long before his time and, according to

Grendel, is considered to be "one of the oldest plots In the world. In

France alone It has given rise to thousands of farces, pantomimes,

plays, and operas."1 NIklaus states that It has also been used In "a

thousand Italian scenarll."2 Sungolowsky supports the above statement with the following comment: "In the flourishing age of comedy, for which the seventeenth and eighteenth century are known, such a theme

had gained widespread popularlty."3 The plot of "Le Barbler" Is a very

simple one. Beaumarchais outlined It In the following manner: "An old man In love Intends to marry his ward tomorrow; a young suitor, more

adroit than he, thwarts him, and marries the g irl today under the

guardian's very nose and In his house."4 The "roots" of this plot,

according to Till, "has Its origins In 'commedla del I'arte, ' the

ancient Italian popular theatre." In seventeenth

^Frederic Grendel, Beaumarchais: The Man who was Figaro, trans. Roger Greaves, (London: Macdonald and James Publishers Limited, 1977), p. 135.

2 ^ Robert NIklaus, Beaumarchais: Le Barbler de Seville. (London: Edward Arnold Publishers, Ltd., 1968), p. 36.

^Joseph Sungolowsky, Beaumarchals. (New York: Twayne Publishers, Inc., 1974), p. 69. 4 Grendel, op. c l t . , p. 135.

11 12 century France this tra dition was adopted by Moliere and continued by

Marivaux and Beaumarchais In the eighteenth century.

Some of the works which have Incorporated the use of this simple plot Include, 'Miles g lo rlsu s,' by Plautus; 'Les Folles amoureuses, ' by

Regnard; 'La Precaution In u tile ,' by Scarron; 'Le Remede a la mode'

(authorship unsure — a 'parade'); 'Ecole des femmes,' 'L'Ecole des marls,' and 'L'Avare,' by Mol 1 ere; and 'La Precaution Inu tile ' by Nolan de Fatouvllle.6 Wade gives the following comment when discussing the possibilities of how Beaumarchais came across the plot:

Mol iere bequeathed this plot to the eighteenth century where It was used several times; notably In Callhava's 'Le tuteur dupe' (1756) and Sedalne's 'On ne s'avise jamols de tout' (1761). Exactly where Beaumarchais borrowed the plot has been the subject of much discussion. C ritics are not In agreement as to whether he took it Immediately from Plautus, Mol I ere, Callhava, or Sedalne. It Is certain that he was a great admirer of Mol I ere and at least one sentence of the 'Barbler' was taken from Sedalne's play. One Is led to suspect that the 'Ecole des femmes' was his model, and 'On ne s'avise jamais de tout' his Immediate Inspiration. It Is not unlikely, however, that he knew of the treatments accorded the same theme by various writers from Scarron to S e d a l n e .7

N icholas Till, .Ro.ssLn I., His Life and Tim es, (New York: Hlppocrene Books, 1983), p. 63. "The 'Commedia del I'A rte' (Comedy of the Masks) came Into prominence In Italy during the second half of the sixteenth century. It was, essentially, comic drama, Improvised to specified plots by stock, masked characters. Its origins seem to lie In the Atellan farces of the Roman theatre, but connections are d if f ic u lt to prove. Commedia plots were drawn from a variety of sources, often reflecting or parodying more serious dramatic forms of the day. They might be based on pastoral drama, even on tragic themes. The scenarios, which are all that was written down, preserve some of the hilarious details of these plots." [John D. Drummond, Opera 1 n Perspective. (London: J.M. Dent & Sons, Ltd., 1980), pp. 187-188.3

^Sungolowsky, op. c l t . . p. 69.

7lra D. Wade, ed., Le Barbler de Sev11 Ie. (New York: Henry Holt and Company, 1937), p. xv. 13

According to Sungolowsky, the o rig in a lity of Beaumarchais' "Le

Barbier" will be found In his treafment of the characters and the

dramatic technique which he used in the play.8 In relationship to

dramatic technique and character treatment, Wade gives four basic merits which he believes contribute to the over-all success of "Le

Barbier" as a masterpiece. These four merits Include, Beaumarchais'

s k ill In striking a balance between action and pause; his consummate s k ill of presenting and circumventing obstacles (the work Is constructed I Ike a game of chess, each move entailing not only a counter-move to checkmate the opponent but also a s k illfu l manoeuver to forestall a move by him); the excellent way In which the characters are portrayed (In each of his plays there Is one major and several minor characters); and the dialogue Itself, for Its sc Inti I Iatlngly conversational quality. It Is lucid, witty, rapid, subtle, and, for Its period, natural ( It was written at a time when the art of conversation was at Its height).^

In setting the plot of "Le Barbler," Beaumarchais decided to use the romantic surroundings of Spain as a backdrop for the action of the

play. The use of Spain and other foreign countries in French

literature was a very common practice employed by French writers of the time. Some scholars believe, however, that Beaumarchais' choice of

Spain In "Le Barbier" came about as a direct result of the v is it which

he made to Madrid In 1764. Beaumarchais took this tr ip In order to

defend his sister, Llsette, who was living In Spain at the time. A

Spaniard by the name of Don Jose Clavljo y Fajardo had broken his

promise to marry L lse tte and Beaumarchais sought to reverse the gentleman's decision and cause the two lovers to be united In marriage.

His efforts were quite unsuccessful, however. Some scholars believe

0 Sungolowsky, op. c l t . . p. 69. g Wade, op. c l t . r pp. xvl-x!x. 14 that this Incident served as the Inspiration for Beaumarchais's choice of a plot which also Involves the uniting of two lovers. Those who support the Idea of this relationship assert that through "Le Barbler"

Beaumarchais was able to fu lfill vicariously and Imaginatively his purpose for going to Madrid, that Is, for the successful uniting of two

I overs.

Others see the use of Spain as Beaumarchais' way of safely but effectively making statements about France and Its aristocracy. Though he was able to rise to a station of nobility In the French government,

Beaumarchais was never allowed to forget his humble birth. Neither was he always dealt with fa lriy by those of the aristocracy who held power over him. For these and other reasons, Beaumarchais was not favorably disposed toward the French nobility. In "Le Barbier" Beaumarchais expressed Just how he f e lt about the social and political system in

France at the time. In his book, "Beaumarchais: Le Barbier de

S eville," NIklaus explains how Beaumarchais used the setting of Spain as a vehicle by which he could communicate his views concerning the social-political system of France at that time.

By seeming to satirize foreign ways Beaumarchais Is able to call French prejudice to account, a d u a lity th a t would delight his audiences as It revealed the re la tiv ity of moral values, and the fact that all men are brothers under the skin. By a subtle process of alienation, brought about by superimposing a profoundly French content upon an acquired foreignness, dramatic values are enhanced, and the distance achieved ensures that everything is looked upon with new eyes. So Beaumarchais writing about a passionate Spanish grandee, could deal mortal blows to his French counterpart by holding Almavlva up to ridicule before e lite audiences who In themselves represented the society he was deriding. He was able to reveal all facets of a dubious morality without seeming to cal I his own society to accountJ*-*

^N iklaus, op. c l t . . pp. 14-15. 15

Beaumarchais accomplished th is revolutionary feat with great success as w ill be seen In the discussion which follows In Chapter

Three.

The Characters

The cast of characters used by Beaumarchais In "Le Barbler"

Include the following:

"Count Almavlva, In love with Roslne. Figaro, the Barber of Seville. Dr. Bartholo, guardian of Roslne. Roslne, In love with Almavlva. L'Evellle, a servant of Dr. Bartholo. La Jeunesse, another servant of Dr. Bartholo. Don Baz11e, Roslne's muslc-teacher. A Notary. A Justice of the Peace. Several Policemen and Servants with torches."^

The playwright gives the following description for each of the above characters:

"Count Almavlva: Dashing and romantic. Good looking. Every inch an aristocrat. In his twenties.

Figaro: Gay and happy-go-lucky, factotum. Never out of s p irits, and always superior to events. A Gaul to the finger-tips. Age, uncertain.

Dr. Bartholo: Brutal, sarcastic, cynical, rude, crude, crooked and suspicious of everybody. In appearance Is ferret-eyed and sensual looking. Age about sIxty.

Roslne: In her teens. Lovely to look at; 'sweet, tender, trim, blooming, and appetizing; with a furtive foot, shapely figure, plump arms, rosy lips, and such hands I Such teeth 1 Such eyes I'

11Pierre Beaumarchais, The Barber of Seville.:. A Comedy In Four Acts, trans. Stewart Robb, (London: Samuel French Ltd., 1939), p. 9. 16

L'Evellle: A stupid, sleepy servant. Oafish. Age, anywhere from twenty to th irty -fiv e .

Le Jeunesse; A feeble, foolish servant, old enough to need a crutch.

Don Bazlle: Crafty, but 'easy to outw it.' Will do anything for money. An officious busybody. Middle-aged..

The Notary: Slow-witted, slow-acting. Pompous. MI ddl e-aged."12

Beaumarchais' characterizations are, of course, excellent

portrayals of each of these personalities; and. In most cases, leaves

very l i t t l e which can be added. However, more discussion Is given to

this topic of "personalities" later In Chapter Three, especially as It

concerns the Count and Figaro.

Several parallels have been drawn between some of the characters

‘ In "Le Barbler" and significant persons who were actually a part of

Beaumarchais's life (Including the playwright himself). According to

Lemaltre, Figaro, the most dominant character In the play, Is

Beaumarchais's "stage counterpart."^ Grendel, who holds the same

view, attaches even more Importance to th is association by saying, "the

appearance of Figaro marks a decisive turning point in French literary

history. With Figaro, the author comes on to CslcD the stage for the

f ir s t t i m e . "14 There are several reasons why this strong association

Is made, one of which has to do with the name "Figaro" Itself.

Concerning this, Grendel makes the point that Beaumarchais "had been

12 Beaumarchais, op. c l t . . p. 11.

^Georges Lemaltre, Beaumarchals. (New York: Alfred A. Knopf, 1949), p. 94. i4 Grendel, op. c l t . . p. 137. 17 dogged all his childhood and youth by a name pronounced 'FJcaro' (Fils

Caron),1' and therefore cannot conceive that Beaumarchais’s choice of the name 'Figaro' was made by mere chance.15 Adding to this, Lemaltre makes the observation that "the very name Figaro Is a fanciful

HIspanlzed form of ’ F ils Caron’ (the final ’ s’ of the word ’ f i l l s ’ being sile n t In eighteenth century French pronunciation)."16

Further evidence which supports this character/author association

Is the fact that the personalities and views expressed by Figaro and

Beaumarchais are so much alike. Both are Indomitable, vibrant, and witty personalities, who dislike the attitudes of the rich and noble.

In addition to this, the commentary which Figaro makes concerning his own life (as found In his tirade In the first act) Is actually a transcript of the IIfes experiences of Beaumarchais himself. Also, both character and author are of common birth, which, when considered with the other facts, give the two a very close resemblance. All of these factors make It very easy to believe that Beaumarchais actually recreated himself In the person of Figaro.

According to Lemaltre Dr. Bartholo Is seen as being a characterization, In some respects, of Beaumarchais' father, Andrea

Caron. Lemaltre gives his support for this view In the following passage, which Is taken from his book entitled "Beaumarchais."

The scolding, morose, crabby, side of Bartholo Is said to bear more than su pe rficia l resemblance to Beaumarchais' father as he remembered him In the worst days of th e ir conflict In the Rue Saint-Denis house. Furthermore, Bartholo's preposterous Idea of marrying for love at his age

15 Grendel, op. c l t . . p. 141.

^6Lemaltre, op., c l t . . p. 94. 18

evidently had Its source In old Caron's late 'grand amour' and matrimonial escapade.17

(At the ripe old age of seventy-seven, Andrea Caron had married

Suzanne-Leopol de Jeantot.) Lemaltre's assertions concerning this association may Indeed be pure assumption. There Is no other evidence

presented or known to this author which verifies that Andrea Caron

served as his sons Inspiration for the shaping of Bartholo's character.

The facts which Lemaltre present seem to be to ta lly coincidental.

It Is no secret that Beaumarchais had at one time (before the

premiere of "Le Barbler") renamed Baz11e, "Guzman," after Councillor

Goezman, the judge who had caused him so much trouble following the La

Blache tria l (1773). Beaumarchais renamed th is character with the

Intention of drawing notice to Goezman's character, and to his vain attempt to discredit him and probably to make a statement about the

Judicial system of his time as well. In the end Beaumarchais decided to retain the name of "Baz lie". He portrays him as an unprincipled, corrupt Individual, who, among other things, would readily sell his

loyalties and services to anyone who Is able to pay for them. All of

this, combined with Bazlle's taste for calumny and slander, Is very

reminiscent of Councillor Goezman as seen through the eyes of

Beaumarchals.

The characters used In "Le Barbler" are also believed to have

strong ties to the characters used In "commedia del I'a rte " (Comedy of

the Masks). According to Drummond, this a rt form "came Into prominence

In Italy during the second half of the sixteenth century. It was,

17JbJ.d,., p. 94-95. 19 essentially, comic drama Improvised to specified plots by stock, masked characters."1® Drummond In agreement with Grendel traces the

"commedia" tra dition In France through the works of Mol I ere (1622-73),

Marivaux (1688-1763), and Beaumarchais (1732-99). He gives the following description of the characters which were used In "commedia."

There were six stock male characters In 'Commedia del I'A rte .' Three were 'zannl': Arlecchlno, Pulclnella, and Brlghella, and three were 'old men': Pantalone, the Doctor, and the Captain. Each had his own qualItles: Pulclnella his cruelty and cynicism (Punch of 'Punch and Judy'); Arlecchlno his acrobatics; Brlghella his self-interested intriguing; Pantalone his miserliness, touchiness and g u llib ility ; the Doctor his excessive dignity and pedantry; and the Captain his extravagant boasting. Other characters were. . .: the female servant Colcmblna, lady 'Inamorate' like Isabella, gossipy old women, dashing, fatuous male lovers, often ridiculously naive, and occasional extras like Tartaglla the stuttering lawyer.

Characteristics of Brlghella and Arlecchlno are found In Figaro, while tra its of Pantalone and the Doctor are sim ilar to those of

Bartholo. The "dashing, naive, young lover" type is somewhat reflective of Count Almavlva.

"I compose airs to my words and words to my a irs ."20 Beaumarchais wrote these words when setting the Spanish songs which he was to use In the operatic version of "Le Barbler." In his letters from Madrid

Lomenle states that Beaumarchais expressed "a marked disdain for the

18 John D. Drummond, Opera In Perspective. (London: J.M. Dent & Sons, Ltd., 1980), p. 187.

19Ib id .. p. 187-188. 20 ✓ Louis De Lomenle, Beaumarchais and His Times, trans. Henry S. Edwards (New York: Harper & Brothers, Publishers, 1857), p. 249. 20

Spanish theatre," but "entertained a very lively enthusiasm for the

Spanish music" especially "the Interludes sung under the name of

'tonadlllas' or 'sagnetes'."21

When Beaumarchais rewrote "Le Barbler" as a play he Included eight songs and one orchestral piece from the opera. The text for the songs are Included In the play with specific references to melodies which are to be used. Printed versions of the play do not contain the actual musical notation. The music for five of these pieces can be found at the Blbllotheque du Conservatoire National de Muslque In Paris, France and the Mecklenburglsche Landesblbllothek In Schwerin (Mecklenburg),

Germany. Some of the airs from "Le Barbler" can also be found In "The

Fandango Overture, Airs, etc." from the "Spanish Barber" by Dr. Samuel

Arnold (1778).

The fir s t song Is entitled "Banlssons le chagrin." It Is sung by

Figaro as he makes his In itia l entrance In Scene II of Act I. It Is an a ir which he composes for his comic opera. The Count sings the next song as a serenade to Roslne. It consists of three couplets and Is found In Scene VI of Act I. The t i t l e of the serenade Is "Vous

I'odonnez." It Is sung to the air "Maltre en droit" with guitar accompaniment. The third song Is sung by Roslne as a short response to the Count's serenade. She uses the same music for this piece which lasts for only two lines. The Count sings the fourth song as he enters

Bartolo's house disguised as a soldier (Act II, Scene X II). The name of the song Is "Revel I I ons-l a ." The text Is not written out In the play which suggests that It should be Improvised.

21JJ2±£L, p. 249. The fifth song Is entitled "Le chef bran I ant" and appears In Scene

XII of Act II. The Count sings this song In ridicule of Bartholo. The melody which Is used for this song Is not stated In the text, but

Tartak says that It Is "IcI sont venus en personne."22 |n the same scene, the sixth song sung by the Count Is entitled "Vive le vin ." In this piece the Count makes Jest of Bartholo's profession. The seventh song Is sung by Roslne during her voice lesson with Don Alonzo (Act

III, Scene IV). It Is entitled "Quand, dans la plalne." The piece Is divided Into three parts with the f ir s t and second strophes containing twenty-four lines each. The "Petite Reprise" which follows contains only sixteen lines. Each strophe Is sung to the same music. The eighth song Is Introduced shortly afterwards and Is sung by Bartholo.

It follows Roslne’ s arietta In Scene IV. Here Bartholo shares with Don

Alonzo and Roslne one of his favorite songs. It Is entitled "Veux-tu, ma Roslnette". The last piece Is written for orchestra and Is played between Acts III and IV as storm music.

22 Marvin H. Tartak, the Italian Com 1c operas of . Rossi n.l, Diss., University of California, Berkeley 1968, p. 139. CHAPTER THREE

".It. BARB I ERE PI SIV IG LIA " BY GIOVANNI PAISIELLO

AM) GIOACHINO ROSSINI

EaJ.S-l.e.l.1.0. and.. Rossini: __ Ihe_Composltlon of the Two "Barbiere"

When "Le Barbier de Seville" premiered in France on February 23,

1775, Giovanni Palsiello was residing In Naples, Italy. At that time

his reputation as an operatic composer rivaled those of Piccinni,

Guglielml, and Cimarosa. Rossini was not born until 1792 therefore his

Influence was not fe lt at this time.

Giovanni Gregorio Cataldo Palsiello was born In the village of

Roccaforzata, Italy on May 12, 1740. His parents were Francesco and

Grazla Antonia Palsiello. Giovanni began his formal education at the age of five. He attended a Jesuit school which was located nearby In the town of Taranto. At the age of fourteen, Giovanni was sent to

Naples where he began his musical training at the Conservatorio dl S

Onofrlo (June 8, 1754). This period of training lasted until July,

1763. While at the conservatorIo Palsiello studied with three

principal teachers. Hunt lis ts these persons as Francesco Durante

(whose other students Included Pergolesi, Jommelli, Piccinni, Traetta,

Guglielml, and Sacchini), Girolamo Abos (opera composer), and Carlo

Cotumacci (an organist and contrapuntlst).1 During his last four years at the conservatorIo Palsiello composed several works. They Include

several masses, settings of "Dixit Dominus," motets, oratorios

1Jno Lei and Hunt, the Life and Keyboard Works of Giovanni PalslelIo (1740-1816), Diss., University of Michigan, 1973.

22 23

and an Intermezzo buffo. None of these early works are currently

extant.

Upon leaving the consevatorIo, Palsiello moved to the northern

part of Italy where he began to compose opera professionally. He

experienced success In Bologna with the premiere of his f ir s t opera 'Ml clarlone" a "dramma giocoso." It was f ir s t performed on May 12, 1764.

Success for Palsiello came quickly as his operas made triumphant debuts

In the c itie s of Modena, Parma and Venice. It Is from these triumphs that Paislello's fame spread throughout Italy.

In the spring of 1766 he returned to Naples to live and work. He

remained there until July, 1776 by which time he had completed forty opera buffa, fourteen opera serla, a requiem mass, several motets,

ensemble works, three contatas, and a masque. It was during this time that he established for himself an International reputation.

The next major portion of P aislello's life was spent at the court of Catherine II In St. Petersburg, Russia (1776-1784). While there he assumed the position of "maestro dl capelle." He composed a total of twelve operas and forty works for the keyboard. One of these operas was "II Barbiere dl S iv lg lla ." Lawrence gives the following account as to how PalslelIo came to write this work:

Catherine had a profound love for all things French. She cultivated the use of the French language at court, prided herself on her thorough knowledge of the writings of Diderot, Montesquieu, and Voltaire, and shared Elizabeth's enthusiasm for the French theatre. It was during a v is it of the Corned Ie Franglase that she became acquainted with Beaumarchais's [s ic ] 'The Barber of Sev11le.' Noting the Tsarina's reaction to the play, Palsiello composed a lyric version of the celebrated French comedy In 1782. Dedicating the score to Catherine II, P a ls ie llo wrote: 'In the knowledge that [Beaumarchais's] Hsfc] Le Barbier de Seville amused your Imperial Majesty, I believed that the same plan would not displease you In the form of an Italian opera. Accordingly, 24

I have had It adapted as a libretto, endeavoring to render It as brief as possible, while adding nothing to the original text, and preserving as many of the expressions of the play as the genius of ItalIan poetry w llI perm It . 2

The premiere performance took place on September 26, 1782 at the

Hermitage Theatre In St. Petersburg. This was seven years after the

premiere of Beaumarchais' play. The opera was evidently a success

though there are no records of the debut performance. Below Is a I 1st

of the cast which premiered the work:

Roslna A.D. de BernuccI Almavlva GermoglI Figaro BrocchI Bartolo Marchettl BasIIIo Pagnanel11

The lib re ttis t which Palsiello employed to set "Le Barbier" was

Giuseppe Petroselllnl (1727-1799). He was a priest and poet who had

also provided the lib re tto for P aislello's opera "Le due contesse" In

1776. Palsiello was not satisfied with his choice of Petroselllnl as a

librettist, nor was he satisfied with the outcome of his libretto. In

a letter to his friend Gal Ian! he wrote:

You w ill not be happy with the poetry, because I've had to bend to necessity, due to the absence of poets here.3

This definitely contrasts the wording found In Paislello's dedication

where he praises "the genius of Italian poetry." Tartak makes the

following observation about Paislello's choice of Petroselllnl and

elaborates on Petrosel 11nl's a b ilitie s as a lib re ttis t:

2 Harold Lawrence, Pal si el Io. record Jacket notes for Giovanni P aislello 's The Barber of S eville , performed by Virtuosi dl Roma, conducted by Renato Fasano (Mercury 0L2-110, 1960), p. 1.

3MarvIn H. Tartak, The Italian Comic Operas of Rossini. Dlss., University of California, Berkeley, 1968, p. 141. 25

Palsiello had no competent librettists In Russia, his favorite, Legrenzi, being occupied In Naples. Against his better judgment he gave the subject to Giuseppe Petroselllnl . . . This undistinguished versifier had one forte: 'dramma glocosl,' which he wrote for various composers — CImarosa, PIccInl and Palsiello. His speciality was disguises, mistaken Identifications, concealment. Intrigue, he had no talent for social satire, but was content to use trite formulas of buffa commedles. To this mediocrity Palsiello entrusted the Barblere; . . .4

Though he Is not given much credit as a librettist, PetroselI Ini's work definitely contributed to the International success of Paislello's opera. By the time of Rossini's birth In 1792 Paislello's "Barbtere"

had premiered In the following c itie s : Naples, 1783; Warsaw, Prague,

Versailles (In French), 1784; Cassel, Pressburg and Mannheim (In

German), 1785; Madrid (in Spanish), 1787; Liege (In French), 1786;

Berlin (In German), 1788; London, Paris (In Italian and French), 1789;

St. Petersburg (In Russian), 1790; and Lisbon, 1791.^

Gioachlno Antonio Rossini was born Into the family of Giuseppe and

Anna Rossini In the small city of Pesaro, Italy. Giuseppe was a horn

player and his wife an opera singer. As a youngster Gioachlno showed

l i t t l e Interest In school work and was very hyperactive. According to

Welnstock, ". . . traditions coincide In picturing him as lazy,

prankish, and disobedient; he was punished more than once by being sent

to pump bellows In a smltty."6

4 l b Id. 5 Alfred Loewenberg, "P a is le llo 's and R ossini's 'Barblere Dl S Iv Ig lla ,'" Music & Letters. XX (April, 1939), pp. 159-160.

^Herbert Welnstock, Rossini: A Biography. (New York: Alfred A. Knopf, 1968), p. 8. 26

As a youngster Gloachino possessed a very lovely voice and his parents thought to direct him toward a singing career. This plan did not materialize though the young Rossini performed frequently in church services and operas.

Rossini's training in composition began when his parents placed him under the care of Padre Stanislao Mattel. Mattel had the youngster tutored by Maestro Angelo Tesel In the rudiments of music. In 1802 the

Rossini family moved to Lugo. Prior to this Gloachino had begun taking horn lessons from his father. While In Lugo Rossini began studying the cembalo and also studied voice with a local canon named Giuseppe

Malerbt. Much of his free time was spent examining the scores of Haydn and Mozart at the Palazzo Malerbl.

In 1805 the Rossini family resettled In Bologna where Gloachino studied singing, solfeggio, cembalo and figured-bass privately with

Padre Angelo Tesel. He also studied voice with Matteo Babbini a well known tenor. During this time Rossini often played cembalo accompaniment for operatic recitatives In nearby theaters. He further

Increased his knowledge of the Instruments by learning to play the viol In and the vlola.

Rossini's accomplishments and popularity as a singer grew to the point where he was given membership in the Accademia Filarmonica. He was admitted on June 24, 1806 at the age of fourteen. Mozart was also admitted to this organization at the same age. Two months prior to this Rossini was accepted Into the Liceo Musicale where he remained for four years. While there he continued his studies In singing, solfeggio and celIo. He also began to study counterpoint under Mattel and piano. 27

Gossett gives th is account of Rossini's productivity while a student at the L iceo Musicale:

During his student years Rossini wrote little : a few Instrumental pieces, some sacred music (Including a mass) and a rather poor cantata, 'II pianto d'Armonia sulla morte d'Orfeo,' which nonetheless won a prize at the LIceo and was performed there for an academic convocation on 11 August 1808. It is often said that he supplied many arias for insertion Into operas performed in Bologna, but this claim has never been systematically investigated.^

In 1808 Rossini set his f ir s t opera to a lib re tto by Vincenza

Mombelli. The name of the work was "Demetrio e Poiibio." Though it was written In 1808 It did not premiere until 1812. The f ir s t opera of

Rossini's to make Its debut was "La Cambiale di matrimonio" (November

3, 1810).® It was commissioned'by the San Mol se Theatre In Venice.

Rossini was only eighteen years old at the time and s t ill resided in

Bologna. His f ir s t success came with the production of "LInganno fel Ice" In January 1812. This work was also commissioned by the San

Moise Theatre. Gossett states that "this work remained popular throughout Italy during the next decade," and as a result of this triumph "commissions from other theatres followed rapidly."9

Rossini was now actively pursuing a career as a full-tim e composer of opera. He wrote these works at an extremely fast rate because he was financially responsible for himself and for members of his family.

Between 1808 and 1814 Rossini composed fourteen operas. Two of these

^Philip Gossett, "Rossini, Gioachlno," The New Grove Dictionary of Music and Musicians. 6th ed. 20 vol s. ed. Stanley Sadie (London: MacmllIan, 1980), XVI, p. 227. g A one act opera buffa or "farsa". g Gossett, op. c f t . , p. 227. 28 works brought him International acclaim. They were "Tancred!"

(1812-13, opera serla), and "L'ltallana In Alger!" (1813, melodramma glocoso). In 1815 Rossini moved to Naples to compose opera for Teatro

S. Carlo and remained there until 1822. It was during th is time period that Rossini composed his great opera buffa "11 Barb I ere dl S IvIg lla ."

On December 15, 1815 he signed a contract to write a new opera for Duca

Francesco Sforza-CesarInf. Cesarlnl was the owner-Impresario of the

Teatro dl Torre Argentina In Rome. According to Welnstock the contract stated "that the composer must accept any lib re tto handed him by the

Impresario, compose the opera In five weeks, adapt Its music to the voices and demands of the singers, preside at rehearsals, and act as

’ maestro al cembalo' during the f ir s t three public performances."10

In a le tte r dated March 22, 1860 Rossini recorded the events surrounding the writing and premiere of "II Barblere."

I was called to Rome In 1815 to compose, at the Teatro Valle, the opera of 'Torvaldo e Dor I I ska,' which had a good success; my Interpreters were Gal II, Donzelli, and RemorlnJ, the most beautiful voices I have ever heard. The Duca Cesarlnl, proprietor of the Teatro Argentina and Its director In that same Carnival season, finding affairs sad In his enterprise, proposed to me that (In haste) I make an opera for the end of that season. I accepted and I associated myself with Sterblnl, a treasury secretary and poet, In searching for a subject for the poem that I had to set to music." The choice fell on 'Le Barbler,' I set to work and In thirteen days It was finished. I had as my Interpreters Gracia,

^Welnstock, op. c lt.. p. 53.

^Cel la says that Sterblnl "was a librettist by vocation, not profession. [Franca Celia, "Sterblnl, Cesare", The New Grove Dictionary of Music and Musicians. 6th ed., 20 vols., ed. Stanley, Sadie (London: Macmillan, 1980), p. 126. "FerrettI described him as 'very expert In the Greek tongue, Latin, French, and German."' Sterblnl also had previously worked with Rossini providing the libretto for his opera "Torvaldo e Dor I I ska" 1815. (Welnstock, op. c ! t . f p. 412.). 29

ZambonI, and Glorgi RighettI, all three of them valiant. I wrote a letter to Palsiello, declaring to him that I had not wanted to enter into contest with him, being aware of my Inferiority, but had only wanted to treat a subject that delighted me, while avoiding as much as possible the exact situations In his lib re tto . That disclaimer having been made, I believed myself sheltered from criticism by his friends and legitimate admirers. I was wrongl On the appearance of my opera, they rushed like wild beasts upon the beardless l i t t l e ’maestro,' and the f ir s t performance was one of the most tempestuous. I, however, was not troubled, and while the audience whistled, I applauded my performers. That storm having passed, by 'Barber,' who had an excellent razor (Beaumarchais), shaved the beard of the Romans so well that I was borne In triumph (a theatrical phrase ) . ^

In addition to writing a letter to Palsiello, Rossini also

Included the following "Avvertlmento al pubblIco" In the lib re tto which was sol d to the publIc.

The comedy by Signor Beaumarchais entitled 'The Barber of Seville, or the Futile Precaution,' Is being presented In Rome, adapted as a 'dramma comlco' under the t i t l e of 'Almavlva, or The Futile Precaution,' this for the purpose of convincing the public fu lly of the sentiments of respect and veneration which animate the creator of the music of the present 'dramma' toward the greatly celebrated Paeslello CslcD, who dealt with this subject under Its original title .

Called upon to take up the same difficult task, the 'signor maestro' Gloachino Rossini, wishing not to Incur the accusation of a temerarious r iv a lr y with the Immortal composer who preceded him, expressly asked 'The Barber of Seville' be 're-verslfled completely' and that some new situations for musical pieces be added, and he further asked that these be to modern theatrical tastes, so much altered since the epoch In which the renowned Paeslello CslcU wrote hIs music.

Some added difference between the text of the present dramma and that of the Comedie-Frangalse mentioned above was caused by the need to Insert choruses Into the subject its e lf, either because they are required by modern usage or because they are essentia! for producing a musical effect In a theatre of notable capacity. And thus the courteous public w ill be Informed, also on the responsibility, of the writer of the new 'dramma', for without the concurrence of such influential circumstances, he would not have dared to

12lb id .. p. 59. 30

introduce the siIghtest change into the French product, now consecrated by theatrical applause throughout all of Europe.1^

By the time Rossini's ” 11 Barbiere" had premiered in Rome

Paisiel lo's opera had gone on to make other debuts In several major cities. They include "Brussels (In French), 1793; Stockholm (In

Swedish), 1797; Mexico ( fir s t Italian opera ever given there), 1806; and New Orleans (in French), 1810."14 Rossini's work quickly rose to fame and within ten years had debuted in the following cities:

Barcelona, 1818; Munich, Lisbon and New York, 1819; Vienna, and Graz

(In German), 1819; Paris, 1819; Brunswick, 1820; Brunn (in German),

1820; Kronstadt and Hermannstadt (Transylvania), Brussels, Marseilles

Madrid and Odessa, 1821; Lyons (in French), 1821; Rotterdam and

Strasburg, 1822; Dublin and Philadelphia (In English), 1822; Berlin (in

German), 1822; Copenhagen (In Danish), 1822; St. Petersburg (In

Russia), 1822; Riga and Amsterdam (In German); Edinburgh (In English),

1824; Prague (In Czech), 1825; Pressburg (In German), 1825; Buenos

Aires (the f ir s t Italian opera ever given there), 1825; Stockholm (In

Swedish), 1825; Warsaw (In Polish), 1825; Amsterdam (In Dutch), 1825; and Mexico (In Spanish), 1826.15

Neither P alsiello nor Rossini were reluctant to express th e ir opinion of the other's musical talent. Palsiello spoke of Rossini as

"a 'licentious' composer who paid little attention to the rules of his art, a debaser of good taste, a man whose great fa c ility In composition

13 1b1d. r p. 58. 14 Loewenberg, op. c l t . . p. 160.

151 b id .. pp. 165-66. 31 was In part the result of a very tenacious m e m o ry .R o s s in i expressed his opinion of Palslello's music In the following words:

His music moves past the ear pleasantly, but neither Its harmony nor Its melody Is anything special, and I never was particularly interested In It. His principle was to compose a whole piece around a small motive which makes for lit t le v ita lity and even less dramatic expressiveness.^

From these records It Is clear that neither composer placed a high value on the musical talent of the other. Though they make no specific reference to "II Barblere" It can be assumed that they would have given no higher praise had these works been mentioned. Of the two, Rossini's work has received the highest compliments from other great composers.

Beethoven gave him the following compliment when they met In Vienna In

1822:

Ah, Rossini, you are the composer of 'II Barblere dl SIvIglla'. I congratulate you; It is an excellent 'opera buffa'; I read it with pleasure and It dellahts me. It wllI be played as long as Italian opera exlstsj® ^

In 1898 Verdi wrote:

You may say things about Rossini and B e llin i, and they may be true, but I confess that I cannot help believing 'II Barblere dl S Iv Ig lla ,' for abundance of ideas, for comic verve, and for truth of declamation, the most beautiful 'opera buffa' In existence.^

Derwent further states "that Schumann adored the 'Barblere'; and thaf Berl loz was moved to tears by La P a tti's performance as R o s l n a . " 2 0

^Welnstock, op. c lt.. p. 47.

I7lt?.i.d,, p. 265.

18lb id .. p. 120.

19J.bId,, P. 5 6 . 20 Lord Derwent, Rossi n I : ___ and Some. For gotten NJ gh±Lnga_Les. (London: Camelot Press, Ltd., 1934), p. 140. 32

Comparison, of the Libretti and the Play

Petrosel11ni's lib re tto Is no more than a "watered-down" outline of it,e original "Barbier." The wording of the text Is basically identical to the original, but In Its condensed state it lacks most of the f la ir and sparkle of Beaumarchais* work. Sterblnl's version also lacks the " fir e " and breadth of the original play but shows more variation and creativity in Its structure and dialogue. There are obvious sim ila ritie s which the lib re tti have In common with the play.

All three use the original time setting of seventeenth century Seville, the original leading characters and the two original scene settings

(the street outside Dr. Bartolo's house and the room with the balcony

Inside Bartolo's house).

The following analysis gives a detailed look at the other similarities and differences which exist.

One of the major changes which both lib r e ttis ts made Is the alteration of personality traits In some of the characters. The two which undergo drastic modifications are Count Almavlva and Figaro. The f ir s t act of the play centers predominantly around these two. It is here that we learn a great deal about their personalities. As the play progresses Beaumarchais s h ifts the emphasis of the story to the unfolding plot.

The Count of "Le Barbler" Is an aristocratic snob. Practically every statement which he makes In Act I Is either condescend I rig, abusive or disrespectful to Figaro. Seldom does he address the barber with his proper name. Instead, he uses words like "scamp", "rascal" and "scatterbrain". The Count shows the heartless side of his nature 33 when he laughs at Figaro's misfortune and ridicules his aspirations.

He makes It known that he thinks very I ittle of Figaro and al I the poor whom he calls "idle and I r r e g u I a r . "2 1 It Is very clear that Almavlva has a very biased, narrow view of life outside the realm of the royal court.

The Count Is also a blatant user. This side of his personality Is exposed when he discovers that Figaro has access to Bartholo's house

(Act I). Once he knows th is he Immediately changes his behavior towards him. He no longer Insults his former servant but Instead hugs him and calls him "my friend, my angel, my liberator, my guardian."22

Figaro lets him know that he Is not taken In by any of his phony pretense. The Count responds by becoming humble and following all of

Figaro's Instructions. Ho even allows Figaro to make Jokes at his expense without retaliating. Two other aspects of the Count's personality are his w it and sense of humor. He proves himself to have great facility In these two areas as he confronts the other characters throughout the play.

Beaumarchais' Figaro Is fu ll of humor, sarcasm, wit and cunning.

He shows himself to be superior to events from the very start. With great s k ill he verbally out-maneuvers Almavlva's sarcastic, unkind remarks. He always comes away from each bout unblemished, showing great resilience every step of the way. Figaro never resorts to abusive language when speaking with Almavlva and therefore seems the

21 Pierre Beaumarchais, The Barber of Seville, trans., Steward Robb (London: Samuel French Ltd., 1939), p. 18.

22±LUL, p. 26. 34 better of the two. He is very flamboyant and colorful In his demeanor and comes across as a shrewd manipulator. He understands well how to

"stroke" the Count's ego and feed his vanity while a rtfu lly maintaining a sarcastic tongue. A good example of this Is found in the dialogue where Figaro encourages the Count to Improvise a serenade to Roslne.

Count: But how can I sing to this music? I can't make up verses.

Figaro: (eagerly) Anything that comes to you, my lord, w ill be excellent. In love the heart supplies Inspiration. Take my guitar.

Count: What do you want me to do? I play It so badly.

Figaro: Is It possible a man like you can be ignorant of anythIng?23

As Almavlva Improvises words to the song Figaro te lls him that he could not have done It better himself. At one point, after supposedly being moved by the beauty of the Count's words, Figaro fal Is to his knees and kisses the hem of his garment. When the Count leaves the stage Figaro laughs at these same words. All of this Is the Barber's way of

Inflating Almavlva's ego while mocking him.

Figaro recognizes that Almavlva thinks himself to be superior simply by virtue of his birth. He allows him to believe this but leaves no question as to who Is the smarter of the two. When expressing his opinion of the government to the Count, Figaro states:

I consider myself sufficiently happy In being forgotten, persuaded that the authorities do us enough good when they refrain from doing us any harm.24

It is made clear from this statement that "Le Barbler" has very lit t le

23JiLl.d. , p. 29.

24 lb id .. p. 18. 35

faith in the government. He knows that the nobility has Just as many

faults as the common people, and Is never deceived by the ir pretense to greatness. One of Figaro's strongest assets Is his abundance of

self-confidence. He never expresses the slightest bit of doubt concerning his a b ility to accomplish any task. A good example of this

Is the statement which he makes right before entering Bartholo's house to disable his servants:

I shalI enter here, where, by the power of my magic art, with a single wave of my hand, I shall put vigilance to sleep, awaken love, lead jealousy astray, thwart Intrigue, and overcome all obstacles.^5

Such Is the unconquerable Figaro. When reading Beaumarchais' masterpiece, one Is given the deep Impression that It Is through the cunning, energy, creativity and diligence of Figaro that the plan to

rescue Roslne w ill be accomplished. Everything evolves around "Le

Barbler.11

The Almavlva of PetroseI 11nl1s lib re tto Is far less abusive In his

language to Figaro though he s t ill resorts to name calling at times.

Petroselllnl also modifies Almavlva's personality by toning down his tendency to be heartless and c ritic a l toward Figaro. He removes the words which express pleasure In Figaro's misfortune and which ridicule his hopes of achievement. Gone also are the prejudiced comments about the poor and the feeling that the Count Is Insensitive to the common

people. In other respects the Count remains the same.

PetroseI I In i's Figaro Is not the same Irrepressible person which

Beaumarchais created. In fact, he Is quite average. In this version

25U2±£L., p. 38. his personality loses most of Its charm and Interest. His actions are basically the same but the person has been metamorphosed, his commanding personality taken away. Figaro ceases to be the shrewd manipulator, the highly boastful, self-confident servant who Is always one step ahead of everyone else. He retains his w it and humor but in smaller portions. In the play much Is revealed about Figaro's past experiences and travels. Also Included are the many things which

Interest him and the things which have contributed to the shaping of his character. Petroselllnl retains seme of this In his libretto but keeps It at a minimum. One Is s t ill able to detect that there Is a social gap between Almavlva and Figaro, but it does not stand out In stark contrast as In Beaumarchais’ "Barbler.”

In Sterblnl's libretto the relationship between the Count and

Figaro is completely changed. The two are almost transformed Into friends of the same scclal status. Neither has anything negative to say about the others standing in society. This eliminates the majority of the sarcasm, abusive language and mocking which Is found In

Beaumarchais' work. The Count still favors Figaro with a few unpleasant names, but he Is no longer the know -it-all, condescending, aristocratic snob.

Figaro retains his wit and humor but undergoes a great deal of change which leaves him a mere shadow of his former self. He is s t ill very boastful about his a b ilitie s , but in th is version he brags about his popularity as the towns factotum and matchmaker. Here Sterblnl shifts the focus of Figaro's life by eliminating the dialogue about his past experiences and travels outside of Seville and centering It on his 37 life and a ctivitie s Inside Seville. This gives the Impression that

Figaro Is actually from the city and lim its the audiences view of his past. The deleted Information about Figaro was taken from the life experiences of Beaumarchais.

Bartolo, Roslna and Basillo each retain the same personalities In the lib re tti versions. Bartolo Is s t ill the extremely suspicious old man who is cruel, unjust and greedy. Roslna remains a beautiful young woman who is far from being naive. She Is s t ill quite capable of matching wits with Bartolo, devising cunning schemes and using her womanly charm to better her situation. Basil lo remains as described by

Figaro: "a poor rogue, easily outwitted who will get on his knees for a penny.

Petroselllnl makes no modifications In the behavior or the personalities of Bartolo's two servants though he does rename them.

Sterblnl changes one of the servants Into a woman whom he ca lls Berta.

She Is very outspoken about her own life and the things which transpire

In Bartolo's house. The other servant who Sterblnl renamed Ambrogio Is practically nonexistent. Other significant changes are best seen by tracing the plot development of the play and comparing the lib re tti.

Beaumarchais begins the opening scene with Almavlva located outside Bartholo's house beneath the balcony window. He Is waiting for

Roslne to make her daily appearance. As he waits he talks to himself about his present situation and a t times addresses the audience.

Suddenly he Is alarmed by the whistle of an approaching Intruder. He hides himself and watches as the person becomes visible. Figaro then

26_LfaM.., p. 28. 38

enters with a guitar on his back writing the words to the song he Is

composing. He Improvises on the text until he Is satisfied. During

the monologue which follows Figaro refers to himself as a composer of

comic opera. At this point the Count looks from his hiding place and

makes eye contact with Figaro. They both recognize each other and

begin to converse. Figaro talks for the majority of the conversation

te llin g of his previous job experience, his a c tiv itie s as a playwright

and his travels. The two also reminisce about Figaro’s former

employment with the Count. The Count then spots Roslne and Bartholo as

they appear on the balcony. Almavtva pulls Figaro aside to conceal

them from view. Bartholo then asks Roslne about the paper In her hand.

She says that It contains verses from a new operetta which was given to

her by her singing teacher. She calls the comedy "The Useless

Precaution." As they converse Roslne drops the paper onto the street

below and frantically tells Bartholo to go retrieve It for her. He complains but goes for It anyway. While Bartholo Is headed for the

front door Roslne calIs out to the Count and tel Is him to pick up the

paper. The Count gets the paper and hides just as Bartholo Is coming through the door. After an unsuccessful search Bartholo returns to the

balcony and pushes Roslne Inside. He then looks over the balcony,

scratches his head and goes Inside the house.

The Count and Figaro then step out of hiding and read the paper which turns out to be a letter. In the le tte r Roslne tel Is her admirer that this attentions have aroused her curiosity. She also asks him to

Identify himself by Improvising words to a certain song once her

guardian has le ft the house. Overwhelmed by this the Count Immediately 39 expresses his joy and excitement. Figaro detects that the Count Is In

love with the young lady but promises not to reveal the fa c t to anyone.

He also Informs Almavlva that she Is s till a single woman and Is not married to Bartholo as Is rumored. The Count then resolves to win

Roslne's heart and save her from Bartholo who holds her captive. After discussing Bartholo In more detail the Count asks Figaro If he has access to the old man's house. Figaro Informs him th a t he not only lives In a house owned by Bartholo but that he is also "Bartholo's barber, surgeon, and apothecary."27 The Count asks Figaro to see

Roslne on his behalf. The two then discuss a plan to get rid of those

Inside Bartholo's house who might Interfere. Figaro comes up with a plan to take care of everything. Knowing th a t the "Royal Infa n ta 's

Regiment" Is coming to tcwn th a t evening, Figaro t e l ls the Count to come to Bartholo's house dressed as a drunken trooper. He tel Is him to bring a "Quartermaster's b ille t" with him which w ill oblige Bartholo to provide lodging for him. As they talk the Count notices that the front door to B arth o lo 's house Is being opened. Figaro then conceals them both from view. Bartholo emerges from the house but calls back to someone Inside th a t he w ill return sh o rtly . As he walks away he pauses for a moment and talks to himself about the Incident with Roslne and the paper. Expressing his suspicions he returns to the house but hesitates once he reaches the door. He begins to speak about the secret marriage plans which Baz11e Is coordinating for him and Roslne

(unbeknown to Roslne). Forgetting his Intentions for returning to the house Bartholo turns away and again leaves to fin d Baz11e.

27lbJxL,, p. 26. 40

Once again the Count and Figaro come out of hiding and discuss what they have heard. Figaro spots Roslne through the window and urges the Count to sing as she requested. The Count sings a song In which he

Identifies himself as LIndor, a simple man of common birth. Roslne re p lie s In song, "My heart t e lls me th a t LIndor Is charming, th a t I should love him constantIy."28 Suddenly she stops singing and closes her window. Figaro and the Count suspect th a t someone has entered her room. As the two discuss the situation Almavlva declares that he w ill make Roslne his wife. He then leaves to change his clothing at

Figaro's shop. Figaro Is left standing In front of Bartholos' house laughing at Almavlva's song. This marks the end of Act I.

PetrosellinI develops the plot and the action of Act I Just as It

Is found In the play. The main d iffe re n c e Is found In the huge dialogue cuts. The librettist retained only that which was essential to the flow of action. S te rb ln l, however, makes several changes In his libretto. He begins the story with a servant named Florello leading a group of musicians to B arth o lo 's house. F io re llo Is a minor character which Sterblnl adds to the plot. As they approach the house Almavlva appears and greets them. He then urges them to be silent as he prepares to sing. Almavlva sings his serenade to Roslna accompanied by the musicians. Roslna does not respond however. Thinking h is e ffo rts to be In vain and noticing that dawn Is approaching, Almavlva gives his purse to Florello to pay the musicians. Florello does so and bids the men good night. The musicians are so grateful for the Count's

28±b±£k, p. 30. 41 generosity they make a big comotion. Angered by the noise that they are making, Fiorello and Almavlva try to calm them before they wake the neighborhood. After they are rid of the musicians Florel lo also

I eaves.

As the Count Is thinking over the situation he hears someone approaching. He hides himself from the view of the Intruder who Is none other than Figaro. The song which "II Barbiere" sings as he enters Is different from the one he sings In the play. Instead of a song about wine and sorrow which he Is composing for his opera, It Is a song which speaks of his l i f e as the towns factotum and matchmaker.

Figaro does not mention that he Is an opera composer. When he finishes his song he meets the Count. Sterblnl makes changes In the conversation which follows. First, he deletes all of Figaro's conversation about his life and travels. He replaces It with the

Count's explanation of why he Is In S e v ille and w ith comments made by

Figaro regarding Roslna's Identity. In the play this dialogue comes after the Balcony Scene with Roslne and Bartholo. Sterblnl also changes the rumor which B artolo has spread th a t Roslna Is his w ife. In this version Sterblnl makes Roslna Bartolo's daughter. Another small change occurs when S terblnl has Figaro notice th a t Roslna and B artolo are coming onto the balcony Instead of the Count.

S terblnl makes only one change during the Balcony Scene. A fte r

Bartolo decends to the street and Is unable to find Roslna's paper, he orders her Into the house from the street Instead of returning to the balcony to push her Inside. The next change comes during Bartolo's monologue when he Is on his way to fin d B asllo. As B artolo ta lk s about 42

his plans of matrimony he mentions that he Is going to marry Roslna the

same day. In the play Bartholo's plans call for the marriage to take

place on the following day. Sterblnl makes another change In the conversation when he has Figaro think of the plan for the Count's disguise before B arto lo leaves the house. Beaumarchais has Figaro think of the plan after the Count's serenade. Sterblnl also adds one

line during Almaviva's serenade. He has the Count te ll Roslna that he wants to marry her. The fin a l change which S terblnl makes occurs a t the very end of the act. Instead of leaving Figaro as the last character on stage, he Is removed and Florel lo Is brought on for the

final word. He complains that the Count has left him waiting.

Beaumarchais begins Act II with a scene change. The action now moves to a rocm Inside Bartholo's house. It Is the same roan which has the balcony window. Roslne enters w ith a candle In her hand. She

looks around to see If she Is being watched and then s its down to w rite

a letter. Once she Is finished she looks up and addresses the audience

regarding her situation. She mentions that she has no privacy and Is

bewildered as to how she will get this letter to LIndor. Just as she

Is contemplating Figaro as a possible solution to the problem he enters the room. They hold a long conversation about LIndor and herself

during which Figaro suggests that she write him a letter to express how

she feels. At this point she hands Figaro the letter she has already written. Roslne then hears Bartholo approaching which prompts Figaro to exit through a side door.

Bartholo enters complaining that Figaro has "maimed everyone In the house, by bleeding Marcel Ine's fo o t, giving L 'E v e llle a narcotic to 43 make him sleepy, giving sneezing powder to La Jeunese, and p uttin g a poultice over the eyes of his blind m u le . " 2 9 Bartholo then confronts

Roslne about the paper she dropped over the balcony and about Figaro’ s visit. Disgusted with Bartholo, Roslne leaves the room In anger. * s Bartholo then calls In L'Evellle and La Jeunese. He tries to get

Information out of them concerning Figaro's visit but L'Evellle Is unable to stop yawning and La Jeunese cannot stop sneezing. Bartholo then dismisses his servants at which time BazIIe enters the roan. He te lls Bartholo that the man who was looking for Roslne in Madrid Is now

In tcwn and that his name Is Count Almavlva. Bazlle then gives his famous tirade of slander as a method to ruin the Count. Bartholo dismisses the Idea and the two discuss plans for the marriage. Bazlle receives money from Bartholo to hasten the proceedings and then leaves.

Figaro, who has listened to the entire conversation, reappears as

Bartholo escorts Bazlle to the door. Roslne appears as Figaro is making fun of the two. Figaro tells her of their plans but reassures her that they w ill be stopped. Figaro then leaves the house by another exit just before Bartholo returns. Roslne asks Bartholo If someone had come to visit him. He reveals that It was Bazlle but says nothing about their conversation. Bartholo switches the topic to Figaro and soon begins to Interrogate Roslne about another letter which he suspects her of writing. Bartholo thinks of every way possible to trap

Roslne Into telling the truth, but she always finds a way to escape.

Not fully convinced, Bartholo threatens to put double locks on all the doors when he leaves the house. At th is point the Count enters dressed

29ltiL £ L , p. 38. 44

as a soldier singing and acting somewhat tipsy. Bartholo tells Roslne

to leave the room but she does not. In his opening remarks to Bartholo and Roslne the Count says, "My ladles, which of you Is named Dr.

Balordo?" Correcting him Bartholo replies "Bartholo." "Balordo,

Babozo, what's the d iffe re n c e ? "^ says the Count. At th is point Roslne

Is Instructed for the second time to leave the room. She does so as the Count enrages Bartholo with remarks which compare their occupations. The Count Is posing as a veterinarian. Almavlva finally

tells Bartholo that he has come to his home In search of lodging.

Roslne reenters the room as they talk and the Count tries to get a

letter to her without Bartholo noticing. When this plan falls Almavlva

Instructs her to take out her handkerchief. During this time Bartholo

has been looking for the brevet which exempts him from housing

so ld ie rs. The Count then drops the le tte r behind him and picks I t up.

He pretends that It Is Roslne's and hands It to her. Bartholo tries to take the letter but the Count stops him by sticking a gun In his ribs.

A fte r the two argue fo r awhile Almavlva leaves the house.

Bartholo then attempts to take the letter from Roslne, claiming It to be a letter from her lover. She refuses to give It to him and threatens to run away. To discourage her Bartholo leaves the room to

lock the front door. While he Is gone Roslne switches letters,

replacing the Count's with one from her cousin. When Bartholo returns they continue arguing. Roslne then fakes a fainting spell and Bartholo goes over to help her. As he tries to revive her he spots the letter

sticking out of her pocket. He takes It out and reads It. Roslne

30 1 bI d. . p. 49. 45 makes sure that Bartholo has read It and has put it back before she revives. Once she awakens Bartholo acts as If the letter was not

Important and confesses his wrong in trying to take it. Rosine insists however that he read the letter, but Bartholo fervently refuses claiming that he really trusts her. He then asks Rosine to go with him to check on MarcelIne's health. She consents but a|lows Bartholo to go on before her. Roslne then reads the Count’s letter which advises her to keep a quarrel going with Bartholo. She chides herself for letting the opportunity slip by and for lacking "the wit of a woman of the w o rld ."31 She ends her monologue with words which suggests th a t she is able to overcome the faults of her Inexperience. This Is the final scene of Act I I.

PetroselI ini's version of Act II stays very close to the storyline and sequence of action. He makes the same type reductions In the dialogue as were made In Act I. He also makes three minor changes which w ill be noted here. The f i r s t change occurs in the opening scene when Petrosel I Ini begins with Roslna already seated at the table writing her letter. This eliminates the entrance which she makes In the play. The second change occurs during the dialogue between the

Count and B artolo. In the play Bartholo te l Is the Count th a t Roslne is his wife. When the Count questions this neither Bartholo nor Roslne say anything about it. In the libretto Roslna speaks up and says that

Bartolo is her "tutore." The third change Is actually a deletion of a prop. Petrosel I Ini el iminates the gun which the Count uses to threaten

B artolo.

31 Ib id .. p. 59. 46

Sterblnl begins the opening scene with Roslna already holding the newly w ritte n le tte r In her hand. She ta lks of the wound which LIndoro has In flic te d on her heart and swears th a t she w ill win him. S terblnl develops th is te x t from the words which Roslne speaks a t the end of Act

II in the play. He does not use the exact words of Beaumarchais but modifies and enlarges on the theme. This Is the te x t used fo r the famous aria "Una voce poco fa." The next noted difference Is the change of Identity given to Bartolo's two servants. Sterblnl makes one servant a woman whom he names Berta and leaves the other a man giving him the name of Ambroglo. Sterblnl also makes two other minor a lte ra tio n s In th is section. He deletes the te x t where B artolo t e lls the Count th a t Roslna Is his w ife and elim inates the prop gun as did

Petrosel11nl.

The biggest change occurs at the conclusion. Instead of ending the act with Roslna, Sterblnl keeps the Count and Bartolo In the action and brings In Basil lo, B erta, Figaro and the town guardsmen. To facilitate this action, Sterblnl first has Roslna secretly switch the

Count's letter with a laundry list. This takes place while Bartolo Is still in the room. After Bartolo sees the laundry list, and right before he admits his mistake about the letter, Bertha enters to announce Figaro's a r r iv a l. Basil to enters next and adds to the noise that is already being created by the others. At this point they are a ll saying d iffe re n t things except Roslna and the Count who are both calling Bartolo a "ninny." When Roslna starts to complain about the way Bartolo has mistreated her, Almavlva threatens to kill him and draws his sword. Everyone else tr ie s to stop him. Figaro enters with 47 a bowl under his arm wondering what the great uproar Is all about. He t e l l s everyone th a t h a lf the town has gathered outside the house.

Bartolo and Almavlva begin to Insult each other In a name-calling match while Figaro pretends to subdue Almavlva. The two continue to argue however, w hile the other four try to calm them. Next comes a v io le n t knocking at the door. The callers Identify themselves as the town guards and demand entrance to the house. Once Inside they ask for an explanation fo r the noise. Everyone then gives his own account of the sto ry. When^they are a ll finished the Count Is to ld th a t he Is under a rre s t. Almavlva hands a document to the o ffic e r in charge who reads

It with great surprise. The officer makes a sign to the other soldiers which causes them to step back and stand p e rfe c tly s t i l l . The others begin to talk about their strange behavior; and when they try to speak to the soldiers they are told to be quiet, stop quarrelIng and go about th e ir business. A vo lle y of words Is exchanged between the soldiers and the other characters. The Act Is concluded with Roslna, Berta,

Bartolo, Almavlva, Basllo and Figaro speaking in great length about the loud r.olse and confusion which they have created.

Beaumarchais begins Act III later that evening Inside Bartholo's house. The Doctor Is alone complaining about Roslne's refusal to take her music lesson. As he ta lk s there Is a knock a t the door. When he answers I t the Count enters disguised as a student. He c a lls him self

Don Alonzo, a licensed teacher and a pupil of Bazlle's. He tells

Bartholo that Bazlle Is Indisposed due to an Illness and has sent him to relay the message that Count Almavlva has left town. Don Alonzo also says that he was the one who originally told Bazlle when Almavlva 48 arrived In Seville. To win Bartholo's confidence, he further states that he has been Instructed by Bazlle to show him a letter which Roslne wrote to the Count. Bartholo reads the letter and recognizes Roslne's handwriting. Don Alonzo tells Bartholo that Bazlle has arranged everything with a lawyer fo r the marriage on the morrow. He then devises a plan to help Bartholo convince Roslne to marry him just In case she decides to re s is t. This In turn convinces Bartholo th a t

Alonzo was sent by Bazlle. To keep Roslne from suspecting his plan

Bartholo suggests that Alonzo meet Rosine firs t and give her a lesson

In place of Bazlle. The Count agrees to this plan and Bartholo leaves the room to get Roslne. The two have a loud dispute offstage but soon enter the room with Roslne s till refusing to take her lesson. Bartholo tries In vain to convince her.

Rosine then turns toward Alonzo to dismiss him and Is shocked as she recognizes him to be LIndor. Bartholo asks her what Is wrong, but she Is at a loss for words. The Count helps her out by saying, "You twisted your foot madame?" "Ah, yes," she replies, "I twisted my foot.

I hurt myself horribly."32 Roslne insists on taking her lesson to make amends. Bartholo, thinking that she should not exert herself, tries to prevent her but Is unsuccessful. Roslne sings a song from 'The Useless

Precaution" as the Count plays the harpsichord. Bartholo seats himself nearby and falls asleep. During the course of the song the Count plays the harpsichord with one hand and holds Roslne's left hand with the other, kissing It several times. At one point In the song Roslne Is

32 Ib id .. p. 64. 49 overtaken w ith emotion and suddenly stops s in g in g . This awakens

Bartholo so the two lovers quickly resume the lesson. Bored by

Roslne's music Bartholo suggests that she learn to sing songs that are more simple, like those he learned to sing in his youth. He sings for them w hile dancing around the rocm.

Before he finishes Figaro enters and mockingly imitates his dancing. Finally Bartholo notices Figaro and greets him. The two exchange words concerning F igaro's earl ie r v is it . Figaro then turns to meet Alonzo. Bartholo Inte rru p ts th e ir conversation and asks Figaro the reason for his visit. Figaro reminds Bartholo that this is his night to be shaved. Bartholo tries to dismiss him but Figaro persists.

The Doctor finally submits and insists that he be shaved right where he is so that he will not miss Rosine's music lesson. Figaro calls the servants to bring in the supplies for shaving. Bartholo Immediately explains that the servants have been sent to bed to recuperate from the drugs Figaro administered. Figaro asks for the key to his rocm so that he can get the shaving utensils. Bartholo decides to go himself because he doesn't want to give his keys to Figaro. As he leaves he tells Alonzo to keep an eye on the other two. Once Bartholo Is gone

Figaro initiates discussion about the opportunity he just missed to confiscate B artholo's key to the balcony window. No sooner than the conversation ends Bartholo reenters the rocm. He gives the keys to

Figaro and tells him to get the shaving utensils. As Figaro leaves the rocm Bartholo and the Count begin to whisper to each other about Figaro and Roslne.

Next a loud crash Is heard and Bartholo runs out to see what has 50 happened. The Count tel Is Roslne th a t he can rescue her th a t night by climbing through her window. As he starts to Inform her about her

letter which he gave to Bartholo, the Doctor and Figaro reenter the rocm and he Is unable to finish. As Bartholo complains about the crockery Figaro has broken, the Barber shows Almavlva and Roslne the key he has taken which unlocks the window.

Next comes an unexpected v i s i t by B azlle. As he enters Bartholo arises to greet him. The entire time he Is there Almavlva, Figaro and

Roslne manipulate the conversation to keep Bazlle and Bartholo from saying the wrong things. Three times Bartholo makes statements that could ultimately foil Almavlva's cover-up, but it Is never allowed to happen. As Bartholo questions B azlle concerning the lawyer and the cause of his Illn e s s , the Count comes over and s lip s a purse of money

In B a z lie ’ s hand. He says, "Yes, Monsieur asks why you have come here when you are so In d I sposed?"33 Up to this point Bazlle has expressed only confusion about the whole ordeal and has Insisted that he Is not sick. The money however convinces him to stop re s is tin g and play along. Meanwhile the Count has also convinced Bartholo that he should send Bazlle home lest he accidently reveal Information to Roslne.

Bartholo now urges Bazlle to leave while the other three help him.

S till not understanding why they are acting as they are, Bazlle finally agrees to take their advice and go home to bed. Once he Is gone the others continue to speak of how III Bazlle looked. They "all shake their heads sadly and observe a moment of reverential s i l e n c e ."34

33JiLijk, p. 73.

34lt?..i,

Figaro engages Bartholo for his shave. He discretely turns the c h a ir away from Almavlva and Roslne so th a t Bartholo cannot see them.

As Figaro occupies Bartholo the Count begins to whisper his plans to

Roslne. At this point Figaro gets a particle In his eye. Bartholo stands up to examine him and notices the Count and Roslne ta lk in g . He pushes Figaro aside and goes over to eavesdrop on their conversation.

Bartholo hears the Count tel I Roslne about his disguise and goes into a rage. Acting as If Bartholo's outburst is uncalled for the Count comments: "Seigneur Bartholo, If you have many whims lik e th is I am not surprised that Mademolselle should not want to become your w ife."35

Roslne tells Bartholo she would gladly give her heart to anyone who would rescue her from him. As she leaves Figaro and the Count make comments which further enrage Bartholo who Is almost speechless at this point. The two finally tell Bartholo that he Is mad and then leave.

Bartholo is left In a state of semi-confusion clamoring about what has

Just happened. Finally he decides to go see Bazlle whom he believes w ill be able to explain everything.

PetroselI Ini's version of Act II Is again basically Identical to the play. Besides the massive cuts there are only three notable changes In the dialogue and the action. The f i r s t change occurs when

Bartolo asks Basilio about the lawyer. Here PetroselI ini Involves all the characters by lengthening the dialogue giving everyone an opportunity to comment on the subject. The second change takes place at the very end of Part III. Once Bartolo realizes he has been deceived by the others, instead of being confused and running to

35lbJ_£L., p. 76. 52

Basillo for an explanation, he simply vows that Figaro, Almavlva and

Roslna w ill pay for th e ir deception. A change In the action occurs In this spot also. PetroselI Ini keeps the other three characters on stage with Bartholo Instead of removing them.

Sterblnl also keeps his version of Act III very close to the original. The only addition to the action occurs at the very end of the scene when B artolo Is left alone. In his anger he calls for his two servants. When they arrive he sends Ambroglo to find Don Basillo and Instructs Berta to guard the door. He exits leaving Berta behind.

Berta begins to talk about the crazy things she has observed happening

In the house, especially as they concern Bartholo and his disagreeable ways. She also speaks about love and the e ffe c t I t has on people. She concludes by commenting on her personal lif e as a desolate old woman.

Again Sterblnl makes major deletions In the dialogue as found In the previous sections. He also lengthens c e rta in passages during Roslna's music lesson with Don Alonzo and during the scene when everyone bids

B a s illo goodnight. S terblnl makes four other minor changes In the dialogue. The firs t occurs when Don Alonzo tel Is Bartolo that Basillo doesn't know anything about the letter which Roslna wrote to the Count.

The second change Is made when Roslna, Instead of the Count, Invents the tale that she has a cramp In her foot when she firs t recognizes Don

Alonzo to be Llndoro. The third and fourth changes take place when Don

Alonzo and Roslna are le ft In the room alone after Bartolo goes to see what Figaro has broken. In this version Don Alonzo asks Roslna to marry him and Is also able to tell her that he gave her letter to

B artolo. 53

Beaumarchais begins Act IV Inside the same room at Bartholo's house. It is almost midnight, and there Is a thunderstorm raging outside. Bartholo and Bazlle are Involved In a conversation about

Alonzo, but the discussion topic soon shifts to Bartholo and his desire to marry Roslne. Bartholo Informs Bazlle that he will use the letter as a weapon to outsmart Alonzo. Bazlle then tells Bartholo that he will bring the notary over to perform the marriage at four o'clock.

When Bartholo asks why they can't come sooner Bazlle tel Is him that the notary has to perform a wedding ceremony fo r F igaro's niece. Knowing that Figaro doesn't have a niece Bartholo reasons that the marriage Is planned for Rosine. He then Instructs Bazlle to get the notary and bring him back to the house Immediately. Before walking B azlle to the door Bartholo gives him a pass key to the house.

Next Roslne enters the room looking for LIndor. She Is followed shortly by Bartholo who shows her the letter and tel Is her that Count

Almavlva had given the letter to another woman who passed It on to him

In hope of eliminating her as a rival for the Count. He also tel Is her that the whole thing was a plot Invented by the Count, Figaro and

Alonzo to cause her destruction. Bartholo calIs Don Alonzo the Count's agent. Believing that LIndor (Alonzo) was working for the Count to harm her Roslne tells Bartholo that she will marry him. She also tells him about the key Figaro stole and about the Count's plan to rescue her that evening. Bartholo fears they w ill be harmed and rushes out to get the police. He plots to have Almavlva arrested for

burglary. As Rosine Is grieving about her unhappy situation, Figaro

and Almavlva use a ladder to climb up to the balcony window. 54

Roslne leaves the room as she sees the window being opened.

Figaro and Almavlva enter through the window and for a brief moment discuss th e ir plan. Roslne reenters and Is approached by the Count.

She leads him on as If nothing has changed and allows him to declare his love and Intentions. Infuriated by his words Roslne begins to set the Count straight. In the process she tel Is him how she has loved him even though he Is poor. Once Roslne Is finished Almavlva tells her that he Is the one who gave her letter to Bartholo. After Figaro calIs

Almavlva "My Lord", the Count reveals his true Id e n tity which causes

Roslne to faint. Once she Is revived she tells the Count that she was

planning to marry Bartholo. Figaro notices that the ladder has been moved. This prompts Roslne to tel I Almavlva how Bartholo deceived her.

She also tel Is him that she has Informed Bartholo about their plans and that he has gone to get the polIce.

At this point the front door opens and Bazlle enters with the notary. After Introductions are made and a brief explanation Is given by the Count, the notary (who thinks he Is to marry two sisters with the same name on the same evening) gets the right marriage contract In hand which Is then signed by the Count and Figaro. Turning to Bazlle,

Figaro and the Count proceed to convince him to sign the contract as a second witness. Urged on by th e ir words and a purse f u ll of money

Bazlle gives In. Immediately after Bazlle signs, Bartholo rushes Into the room followed by the justice. A lively discussion follows where

Bartholo Is told of all that has transpired while he was absent. He

learns that Roslne and the Count are married and that Bazlle signed the contract as a second witness. He threatens to oppose the marriage as

Roslne's legal guardian but Is silenced when the Count overrules him by 55

placing Roslne under the authority of the law and soliciting the magistrates' help. The Justice agrees with Almavlva once Figaro

reveals his (the Count's) Identity and tells Bartholo that his objections to such an honorable marriage means that he Is probably

try in g to cover-up fa c ts concerning h is mismanagement of Roslne's

property. After this accusation Bartholo quits his complaining and

re lu c ta n tly signs the marriage co ntra ct. Roslne and the Count breathe a sigh of relief and the notary finds out that there Is only one girl

named Roslne. Bartholo grieves over the fact that his plan has

backfired, and Figaro rejoices that the Count and Roslne are married.

The fin a l words of the play are spoken by Figaro as he addresses

Bartholo:

But seriously Doctor, when youth and love get together to fool an old man, anything he does to stop It may rightly be called 'A Useless Precaution' 1^6

This section of PetroselI Ini's libretto Is also structured along the same pattern as the play. Changes th a t have been made are s im ila r

to the ones made In previous sections of the libretto. Petrosel I Ini

deletes the fainting spell which Roslna has after the Count reveals his

true Identity. He also lengthens the section which immediately follows where Roslna and the Count express th e ir happiness with each other.

Instead of having two marriage contracts and thinking that there are

two sisters by the name Roslna the Notary enters with only one blank co ntra ct. When Bartholo enters he Is accompanied by c iv il guards and

servants and not just the Alcade. Figaro's closing line ". . .It may

rightly be called a Useless Precaution!" Is firs t spoken by the Count

36 Ib id .. p. 93. 56 and Roslna and Is then repeated by alI as the finale.

S terblnl makes several minor changes In his version of Act IV.

They Include the following: Don Basil to Is convinced that Don Alonzo

Is the Count; Bartholo does not walk Basillo to the door when he leaves to get the notary; Instead, he remains behind to devise his plans to deceive Roslna; Roslna Immediately accuses Almavlva of deception as soon as he and Figaro enter the house; Figaro Is given no part In revealing the Count's true Identity to Roslna; the notary brings only one marriage contract with him; the Count gives Basillo a ring from his finger Instead of money to persuade him not to question the marriage; when B a s illo continues to protest the Count threatens him with a gun; only Almavlva and Roslna sign the marriage contract; when Bartolo returns he enters with an officer and his soldiers; the Count reveals his own Identity to the officer, not Figaro; no one threatens to order an Investigation concerning Bartolo's handling of Roslna's finances; and the final text Is extended beyond the words "The Useless

Precaution."

Several Influences contributed to the preparation and shaping of these two libretti. The writing abilities, creative styles, personal tastes and translating skills of the librettists; the content and style

in which the original work was written; contemporary trends In libretto writing for opera buffa; musical considerations; time limitations; and unique circumstances all played a part In this process. Comments In reference to the abilities of the librettists and the nature of the play have already been given.

Only Sterblnl Is known to have had a time restriction placed on 57 him. Because of the time frame In which Rossini had to work S terbinI was asked to write his libretto within twelve days. The practical necessity which dictated reducing Beaumarchais' wordy dialogue Into a libretto which would be both enjoyable and workable In a musical setting was one of the chief musical concerns of the two librettists.

This Is the main reason for the large reductions In dialogue. Another

Important consideration was the choice of words which were selected In the translation from French to Italian. This of course would affect the stylistic presentation, the flow of the plot and the sIngab11 Ity of the music.

Most scholars agree that traditional opera buffa Influences are seen more In P etrosel11nl's work than In S te rb ln l's . Opera buffa was greatly affected by the traditions of "commedla dell’arte." According to TNI these two art forms experienced "considerable cross f e r t l I Izatlon.Each used stock characters and other standard plot features which Drummond lists as "disguise, mistaken Identities, practical Jokes, hoaxes, unfortunate arrivals, secrets and re v e la tlo n s ."26 | n the follo w in g passages Tartak gives his h is to r ic a l, stylistic assessment of the two libretti as they relate to the subject.

With his penchant for ’mannerist' poetry, his dependence on the traditional devices, language, and characterization of Italian comic opera, and with unfortunately few qualities of dramatic Imagination to counteract the static effect of these traditional ways, PetroselI Ini could do little else than

35NIcholas T ill, Rossini his IIfe and times (New York: Midas Books, 1983), p. 64.

■^John D. Drummond, Opera In Perspective (London: J.M. Dent & Sons L td ., 1980), p. 191. 58

write a conventional adaptation.

Sterblnl, though no genius of the theater, was not bound to eighteenth-century buffa tradition — the stock characters and sentimental heroines (as seen In commedla del I'a rte ) — as was PetroseI 11n I, nor did he feel the same allegiance to the te x t of the pi ay.37

(As noted earlier In the "AvvertImento al pubbllco", It was

predetermined that Sterblnl's libretto would be completely

"reverslfled", thus the reason for Sterblnl's non-alleglance to the text of the play.) Dent adds support to Tartak's position when he

states that since Petrosel llnl portrays Bartolo as the chief dramatic character It makes his work a typical Italian opera buffa." In contrast to this he also notes that Sterblnl "treats the play with even

greater freedom, . . . shows more sense of humor, and . . . makes the

Barber the central figure of the s t o r y ."38 Dent's statements concerning the leading characters brings up another point which should

be considered. In Beaumarchais' play Figaro Is clearly the central

fig u re around which everything revolves from beginning to end. Due to

his domineering personality he occupies the spotlight all alone.

Because of the cuts and alterations In the libretti Figaro shares his

leading role with Almavlva, Roslna and Bartolo. In Petrosel 11nl's

libretto Bartolo Is made to stand out more than the others, however.

Each lib re ttist had to write his work under unique circumstances.

The work which PetroselI Ini produced was Influenced to seme extent by the personal taste of Catherine II. According to Hunt "Catherine would

^Tartak, op. c lt.f pp. 145-146. 3 8 Edward Dent, trans., The Barber of SevI I Ie by Pierre Beaumarchais (London: Oxford U niversity Press, 1940), p. x l. 59 not a I low texts of a controversial nature to be staged at court."39

This meant that Petroselllnl and Palslello had to be concerned about the content of the libretto. Catherine also put time limitations on the length of operatic performance. Palslello wrote the following concerning thIs:

Operas had to last no longer than two hours. An hour and a half was the most desirable length.40

Palslello specifically mentions In the dedication of this work that he sought to keep the work "as brief as possible without adding to the original text.” This Is another reason why Petroselllnl had to make large reductions In the dialogue.

The unique circumstances under which S terblnl wrote were caused by the presence of P a ls le llo 's "B a rb le re .” P a ls le llo 's work was so loved that It was thought best to reword the entire libretto and use the subtitle "Almavlva or the Futile Precaution" so as not to offend

Palslello and his fans. This resulted In the changes which were discussed earlier. Beaumarchais no doubt wanted to make several personal statements through "Le Barbler." The librettists were able to preserve seme of these In their works while others were eliminated.

The most Important statement of them alI seems to have been among those which were deleted by both llbretlsts, and that was Beaumarchais' position on the social-political climate of his generation.

39 Hunt, op. c l t . . pp. 41-42. 60

Musical. Analysis

Both Palslello and Rossini wrote their operas In two acts. Each act In Palslello's "Barblere" Is divided Into two parts. The acts In

Rossini's Is divided Into scenes. The first act consists of sixteen scenes and the second act contains eleven scenes. Both composers used the same general format and types of musical pieces In constructing their operas, but the amount and order In which these pieces are arranged are not the same In every case; neither do both composers develop the plot In the same way musically In every Instance. The following Is an outline which offers a comparative look at these areas. Palslello II Barblere dl SIvIglla Ross?nI II Barbler dl Sivlglla

Sinfonla Sinfonla

A tto Prfmo-Parte Prlma A tto Prlmo

In+roduzlone - Almavlva outside Bartolo's Introduzlone - FlorelIo leads musicians to house anticipating Roslna's B a rto lo 's house. appearance.

Scena e Duetto - Figaro enters composing song. Cavatina - The Count serenades Roslna. Meets the Count.

Reel tatIvo - The two discuss Figaro's recent Segulto estretta del I ' past. Introduzlone - The musicians are dismissed. They cause a big commotion.

Aria - Figaro gives the details of his travels. Recltatlvo - Florello and Almavlva are relleved musicians are gone. F lo re llo leaves. Almaviva hides from Intruder.

R ecltatlvo - They exchange words about Figaro's Cavatina - Figaro enters singing about his busy philosophy, then hide as the 1 Ife In Sev11 Ie. window to B a rto lo 's house Is opened.

Duetto - Roslna and Bartolo come onto the Recltatlvo - Almavlva and Figaro meet. They balcony. Roslna drops paper. discuss the Count's reason for being Bartolo goes to retrieve It but In Seville and Roslna's Identity. Almavlva gets It first. Roslna and Bartolo and Rosina come onto the Bartolo go back Inside. balcony. She drops the paper which B artolo goes to re trie v e . The Count gets the paper f i r s t ; B artolo Is unable to find It and orders Roslna Into the house. Reclta+Ivo - Almavlva reads the paper. Figaro Red ta tIv o - Almavlva makes Figaro read the paper reveals Roslna's true identity and and tell him about Bartolo. Bartolo devises a plan to get Almavlva then leaves the house again to find Into B a rto lo 's house. Bartolo B a s ilIo . Figaro notices Rosina In exits to find BasilIo, Figaro and the window and encourages the Count the Count spot Rosina In the to sing to her. window. The Count prepares to serenade her.

Cavatlna - Using Figaro's mandolin, Almavlva Canzone - Almavlva serenades Rosina and Id e n tifie s sings his serenade Id e n tify in g him­ himself as LIndoro. Rosina briefly self as LIndoro. Rosina sings a responds twice, halfway through and at b rie f response at the end. the end of the serenade.

Reel ta tIv o - Almavlva and Figaro wonder why Recltatlvo - Almavlva offers Figaro money to Rosina stopped singing and then assist him In entering Bartolo's proceed to carry out th e ir plan house. Figaro encourages Almavlva to bring money when he returns and te l Is him why.

Duetto - Almavlva assures Figaro that he w ill Duetto - Figaro sings about the power which money bring plenty of money. He returns the has to Inspire his thinking while the mandolin. The two discuss the Count encourages him. Figaro thinks of location of Figaro's shop. the disguise to get Almavlva Into B a rto lo 's house. Figaro gives the Count d ire ctio n s to his shop.

Recltatlvo - FiorelIo reappears complaining that Almavlva has made him wait around for nothIng.

CTi Atto Prlmo-Parte Seconda

R e clta tlvo - The scene changes to a room Inside Cavatlna - The scene changes to a room Inside B a rto lo 's house. Rosina Is seated B a rto lo 's house. With le tte r In hand, at a table writing a letter. Figaro Rosina sings that she has made Lindoro enters and they discuss LIndoro. her choice. She also sings about her Rosina gives Figaro the letter for docile nature and her abllIty to become Lindoro. Bartolo Is heard coming a vixen when necessary. so Rosina leaves the room and Figaro hides. Bartolo enters com­ plaining that Figaro has Incapaci­ tated all his servants. He then caiIs Lo Svegllato and Glovlnetto.

Terzetto - The two servants enter but Bartolo R ecltatlvo - Rosina wonders how to get her le tte r cannot get any Information from them. to Lindoro. She then thinks of asking Figaro.

Recltatlvo - Don BasilIo enters end discusses R ecltatlvo - Figaro enters. Rosina t e lls him how Almavlva with Bartolo. sad she Is and Figaro tries to encourage her. Bartolo Is heard coming and Figaro hides.

Aria - Bartolo sings his slander aria. Recltatlvo - Bartolo enters complaining that Figaro has rendered his household helpless. Rosina and B artolo discuss Figaro. Rosina leaves the room and B artolo c a lls in Berta and Ambroglo to question them about Figaro. When he Isn't able to get a response he runs them out of the room.

Recltatlvo - Bartolo questions Basillo's logic Recltatlvo - BasilIo enters and tel Is Bartolo that then discusses the marriage plans. Almavlva is In town. He then Invents Bar+olo sees B a s ilIo to the door. an Idea to scandalIze the Count. Figaro and Rosina enter and discuss Bartolo's plans. Figaro leaves and Bartolo reenters. He then discusses Figaro's v is it with Rosina, her Inky fingers and the missing paper.

Aria - Bartolo lectures Rosina about trying to Aria - BasilIo sings about the nature and power of deceive him and promises to lock her up scandal. the next time he leaves the house.

Recltatlvo - Almavlva enters, Identifies him­ Recltatlvo - The two discuss Basillo's plan and self to Rosina and presents his then retire to Bartolo's room to draw ”bIgI ietto" to Bartolo for housing. up the marriage contract. Bartolo then searches for his exemption notice.

Terzetto - Bartolo reads his notice, the Count Recltatlvo - Figaro enters talking about Bartolo's Ignores him and Bartolo threatens to marriage plans. Rosina enters and throw him out. The Count challenges Figaro te lls her what he has learned. him to a fight. Almavlva drops his The two then discuss Lindoro and letter for Rosina. Bartolo tries to Figaro tells her that Lindoro Is In take It but is unsuccessful. He then Iove w ith her. throws Almavlva out.

Recltatlvo - Bartolo tries to take the letter Duetto Rosina sings of LIndoro's love for her from Rosina but falls. He threatens while Figaro reassures her. Figaro tries her and then locks the doors. Rosina to persuade her to w rite Lindoro a le tte r switches letters, Bartolo returns, at which point she produces the one she they argue and Rosina fa in ts . Bartolo has already written. Rosina eagerly sees the le tte r, reads I t and puts I t anticipates seeing Lindoro and Figaro back. Rosina awakens to In s is t th a t comments on the ways of women. Figaro Bartolo read the letter but he departs. refuses. He then goes to see MarceMIna. Rosina remains behind and reads the Count's letter.

Cavatlna - Rosina prays to heaven for peace. Recltatlvo - Rosina Is comforted by Figaro's help. Bartolo enters asking about Figaro's visit. He then questions her about the Ink on her fingers and the missing paper.

Aria - Bartolo lectures Rosina about trying to deceive him. At the conclusion he leaves the room.

R e clta tlvo - Rosina complains about the way Bartolo has spoken to her.

Recltatlvo - Berta enters thinking she heard a noise.

Finale I - The Count enters disguised as a tip sy soldier. Bartolo confronts him and Rosina enters. Almavlva drops the letter then picks It up and gives It to Rosina. Bartolo unsuccessfully tries to take I t . Rosina switches the le tte r with a laundry lis t and Bartolo reads It. Berta and BasilIo enter followed by Figaro. After Almaviva and Bartolo resume arguing, the town guards knock a t the door. Almavlva Is placed under arrest. He then frees himself by giving a document to the o ffic e r In charge. The Act ends with everyone singing in total confusion. Duet+o - Bartolo complains th a t Rosina refuses Recltatlvlo - Bartolo recounts his useless efforts to take her music lesson. The Count to Identify the soldier. He hears a enters disguised as Don Alonzo wishing knock a t the door and c a lIs to his B artolo peace and jo y. servants to answer It.

Recltatlvo - Don Alonzo tel Is Bartolo who he Is Duetto - Almavlva enters disguised as Don Alonzo and his mission. Bartolo brings wishing Bartolo peace and happiness. Rosina In fo r her lesson. She resists until she recognizes Lindoro. They prepare for the Iesson.

Aria - Rosina takes her music lesson. She Recltatlvo - Don Alonzo Identifies himself and his contrasts her unhappy condition with the Intentions. beauty of nature. Bartolo dozes.

Recltatlvo - Don Alonzo compliments Roslna’ s Recltatlvo - Bartolo brings Rosina In for her singing as Bartolo wakes from his lesson with Don Alonzo. She sleep. Bartolo suggests a better recognizes him to be Lindoro and they song. prepare fo r the music lesson.

SeghIdIglla Spagnuola - Bartolo dances and sings a song Aria - Rosina sings fo r her music lesson. When from his youth to Rosina. Figaro Bartolo falls asleep she asks Lindoro to enters and Imitates Bartolo. help her escape. He assures her th a t everything will be alright.

Recltatlvo - Figaro tells Bartolo he has come Recltatlvo - Bartolo awakens and decides to sing to shave him and soon goes fo r the one of his fa v o rite songs, shaving u te n s ils . A crash Is heard and Bartolo leaves to Investigate which allows the two lovers opportunity to talk. Figaro and Bartolo reenter.

Qulntetto - BasilIo enters. They convince him Arietta - Bartolo sings and dances, Figaro enters th a t he Is i l l . B a s ilIo leaves and mimicking him. Figaro begins to shave B artolo who later discovers the Count's disguise. Bartolo Is furious about the deception. The others calI him mad.

Recltatlvo - Figaro tel Is Bartolo he has come to shave him and la te r gets the shaving equipment. Figaro drops the crockery and Bartolo Investigates. Alonzo tells Rosina his plan. Figaro and Bartolo reenter.

Qulntetto - BasilIo enters and confronts the others. They soon convince him that he Is III and send him home. Figaro s ta rts to shave B artolo who shortly discovers Alonzo's disguise. Bartolo rages In anger while the others tell him to be quiet. Bartolo Is then left a I one.

Recitatlvo - Bartolo considers things and then c a lls his servants. Ambroglo goes for Basilio and Bartolo guards the door. Berta, who Is left behind, complains about Bartolo and the confusion. Aria - Berta sings about the way love Is affecting Rosina and Bartolo and about herself. She then exits.

Recltatlvo - Bartolo and BasilIo enter.BasilIo reveals A!onzo's Identity. Baslllo goes for the Notary.

Recltatlvo - Bartolo devises his plan to deceive Rosina and does so. She confesses all. Bartolo goes for the soldiers.

Atto. Secondo-Parte Ouarta

Temporale - Storm music. Temporale - Storm music.

Recltatlvo - Bartolo and Baslllo discuss Alonzo. Recltatlvo Almavlva and Figaro enter through the and Scena Baslllo goes for the notary. Bartolo balcony window and are confronted by deceives Rosina and then goes for Rosina. The Count reveals hfs true the police. Figaro and Almavlva Id e n tity . enter and encounter Rosina. The Count reveals his true Identity.

Finale - Rosina tells the Count about Bartolo's Terzetto - Almavlva and Rosina sing of their good deception. Baslllo and the Notary enter. fortune and Figaro admires his handy- The marriage takes place. Bartolo and work. Figaro notices two people coming the police enter but too late. The end. and the three decide to leave.

Recltatlvo - Figaro notices that the ladder they used Is gone. B a s lllo and the notary enter and the marriage takes place. Bartolo enters with an officer and his soldiers. R ecltatlvo strumentato - The Count reveals his true Identity to Bartolo and the soldiers.

Aria - The Count te l Is B artolo to cease his protesting and ther reassures Rosina that her oppression has ended. The soldiers join In wishing the couple happiness.

Recltatlvo - Bartolo accuses Basilio of betraying him, and chides him self fo r removing the ladder.

Finaletto II - They all rejoice and wish the couple happiness. The end.

CTi vo 70

Rossini used twice as much recitative as Palsiello. In 1781

Paislello wrote that "he was expected to provide operas with a minimum

of recitative, because the Russian Court did not understand Italian."4^

Rossini also developed a Finale for the end of each Act which utilizes

a chorus. In comparison Palsiello only uses one Finale at the very end

of his opera without chorus. Rossini's reasons for using choruses are

given In the "Avvertlmento al pubblico" taken from his libretto.

Some added difference between the text of the present 'dramma' and th a t of the Commedie-Frangiase mentioned above was caused by the need to Insert choruses Into the subject itself, either because they are required by modern usage or because they are essential fo r producing a musical e ffe c t In a theater of notable capacity.4^

Rossini stated that If It were not for these things "he would not

have dared to Introduce the slightest change. . ." Drummond points out

that the stage at the Teatro Argentina in Rome for which Rossini wrote

"II Barbiere" was smaller than the stage of the Hermitage Theatre in

St. Petersburg where Palsiello's opera -- without choruses — was

performed. He therefore cites this as a poor reason for Rossini to use

for choosing to utilIze the chorus.4^

Each composer uses approximately the same number of solo and

ensemble p'eces. The fo llo w in g ch art compares them.

41 Dent, op. c l t . . pp. x -x i. 42 Weinstock, op. c l t . . p. 58. 43 John D. Drummond, Opera In Perspective (London: J.M. Dent & Sons, Ltd., 1980), pp. 236-237. 72

The only difference found above is In the voice type given to Rosina.

Zedda writes the following concerning Rossini's choice of the mezzo voice for this part:

The role of Rosina, written for a mezzo-contral to, was soon claimed by coloratura sopranos. Rossini's choice of a lower voice can certainly be attributed to the fact that Elsa Rlghetti Giorgl was an alto. She was the prima donna of the company appearing at the Teatro Argentina, Rome, during the 1816 season, when the "Barber" received Its world premiere. Apart from th a t fa c t, however, R ossini's a r t is t ic Intentions and his personal preference, if not technical considerations, may well have had an Important bearing on his decision. In other operas of his — Including some of the best among them the heroine is an alto ("L'italiana in Alger!" and "Sem I ramide"). Rossini probably had a definite predilection for the warmer timbre of what BacchelII so aptly described as the "voice of the Ita lIa n woman."

In R ossini's day a lto s dominated the operatic scene, even in breeches roles. For reason of tonal balance they were matched with the castrati, whose bright voices were too similar to those of sopranos for the required contrast to be obtained by bringing them together. Only when tenors came to the fore did sopranos gain the upper hand as th e ir vocal partners. At the time of the "Barber" the old concept of operatic casting s till held sway. It Is scarcely surprising, therefore, that Rossini, who was not by any means an Innovator In yocal matters, chose a tra d itio n a l solution to the problem.

The minor characters are sung by the following voice types:

Ep.ss.LnJ- Giovinetto — Tenore FiorelIo — Baritono Lo Svegl ia to — Basso Ambrogio — Basso Un Alcade — Tenore Berta — Soprano Un Notaro — Basso Un Ufflciale — Basso Un Notalo — Soldati — Suonatori

The chart below shows the amount, type, name and location of the solo and ensemble pieces assigned to each of the characters In the two

44 A lberto Zedda, "The Barber of S e v ille ", record ja cke t notes fo r Gloachino Rossini's 11 Barbiere PI Slvlgllaf performed by the London Symphony Orchestra and the Ambrosian Opera chours, conducted by Claudio Abbado (Deutsche Gramrnophon, 2709 041), p. 6. 71

Paisi elIo Ross InI .$.0.1.C>£ Sol os

(Aria, Cavatlna, (Aria, Cavatina, Canzone, A rie tta ) Canzone, A rie tta )

8 10

D us.ts Duets 4 3

Ir_k>s Tr log 2 1

Quartet Quartet 0 1

Q uintet QjjJut.e.t 1 1

jjg x te l Sextet (with chorus) 0 1

Septet Septet (with chorus) 1 1

Io±al I o l a l 16 18

Both composers assigned most of the same voice types to the major characters. They are as follows:

P a ls le lIo Rossinl

11 Conte d'AImavIva Tenore Tenore RosIna Soprano Mezzo soprano FIgaro BarItono BarItono B artolo Basso comIc Basso Don BasIIIo Basso Basso 73

operas. For ensemble pieces the names of the other characters who

participate are also Included.

J.l . Barb i ere ; Pa Is le I Io II Barblere: __ Ross.In.l

The Conte The Conte

2 Solos 3 Solos

Introduzlone: Act I Cavatlna: Act I Ecco I'ora s'avvlclna Ecco rldente In c le lo

Cavatlna: Act I Canzone: Act I Saper bramate Se II m!o nome saper vol bramate

Aria (with Coro): Act II Cessa dl plu resistere

3 Duets 3 Duets

Diamo a lia nola II bando: Act I A ll Idea dl quell metal Io: Act I (Figaro) (Figaro)

Mon dub I tar, o Figaro: Act I Introduzlone (Including the stretta): Act I (Figaro) Plano, pianissimo and Ehl, FiorelIo (F io re lIo , Coro)

Oh che umor: Act I I Pace e gloia si a con vol: Act II (B artolo) (Bartholo)

.1. .Tr i o J—Tcifi

Ah I RosinaI Vol, Lindoro?: Act I Ah I qua I colpo: Act II (Rosina, Bartolo) (Rosina, Figaro)

- Quartet 1 Quartet

La testa vl glra: Act II (Rosina, Figaro, Bartolo)

.1 Q uintet

Don Bas11 Io! GIusto c le lI: Act II Don Basil Iol Cosa veggol: Act II (Rosina, Figaro, Bartolo, Don (Rosina, Figaro, Bartolo and Don Bas I No) (Basil Io)

- Sextet 1 Sextet

FInaIe II: Act I I Di si felIce Innesto: 74

(Figaro, Berta, Bartolo, Baslllo, Rosina, coro)

1 Sep te t

F i naIe: Act i I Finale I: Act I Cara, sei tu II mlo bene Eh I dl casa . . . buona gente (Rosina, Alcade, Figaro, Notaro (Bartolo, Rosina, Berta, Baslllo, Don Baslllo, Bartolo) Rosina, Coro)

Rosina Rosina 2 Solos 2 Solos

Cavatlna: Act I Cavatlna: Act I Glusto clel, che conoscete Una voce poco fa

Aria: Act I I ArI a: Act I I Gla rlede prlmavera: Contro un cor che accende amore:

-1 Duet 1 Duet

Lode a I d e l : Act I Dunque Io son: Act I (Bartolo) (FIgaro)

1 Tr Io l- Ir J jO

Ah I RosinaI Vol, Lindoro?: Act I Ah I qua I colpo: Act I I (the Conte, Bartolo) (the Conte, FIgaro)

- ,Quar t e t .1. .Quarte t

La testa vlglra: Act II (the Conte, Figaro, Bartolo)

1 Qu. In t e l .1- g.uJji±e.t

Don BasIIol GIusto clel I: Act I I Don BasilIol Cosa veggol: Act II (the Conte, Figaro, Bartolo, Don (the Conte, Figaro, Bartolo, Don BasiI io) B asiIIo)

- Sex t et 1 Sextet

FInal e II: Act I I Dl si felIce innesto: (Fiagro, Berta, Bartolo, Don B a s lllo , the Conte, Coro)

1 Septet 1 Septet

Finale: Act I I F i na I e I : Act I Cara, sei tu l mlo bene Ehi dl casa. . .buona gente 75

(the Conte, Alcade, Figaro, (Bartolo, Count, Berta, Don Baslllo, Notaro, Don BasilIo, Bartolo) Figaro, U fflc la le , Coro)

B artolo B artolo 2 Solos 2- Sol os

ArIa: Act I ArI a: Act I Veramente ho to ro , e vero A un dottor del la mla sorte (sometimes substituted with "Manca un fogl io e gla suppongo," by P. Roman)

Seghldlglla Spagnuola: Act II ArIetta: Act I I Vuol tu , Rosina Quando ml set v IcIna

2 Duets

Lode a I c le l: Act I Pace e g io la sla con v o i: Act II (RosIna) (the Conte)

Oh che umorI: Act I I (the Conte)

2 Trios — T rio

Ma dov'erl tu, stordlto: Act I (Glovlnetto, LoSvegliato)

Ah Rosina Vol, Lindoro: Act I (Rosina, the Conte)

- J h l o L l s l

La testa vl glra: Act II (Rosina, the Conte, Figaro)

.1 Q uintet 1 Quintet

Don BasilIol Giusto c le !! Don Baslllo! Cosa veggol: Act II (Rosina, the Conte, Figaro) (Rosina, the Conte, Figaro)

- Sextet ..L .Sextet

FInaIe I!: Act I I DI si felIce Innesto: (Rosina, the Conte, Berta, Don B a s lllo , Figaro, Coro)

1 Septet .1- Sep.te.t

Fi nal e: Act 11 Finale I: Act I Cara sei tu il mlo bene Eh I dl casa. . . buona gente (Rosina, the Conte, Alcade, (Rosina, the Conte, Berta, Don Figaro, Notaro, Don Basil io) Baslllo, Figaro, Ufflcale, Coro) 76

FIgaro Figaro 1 Solo 1- Sol o

ArI a: Act I Cavatlna: Act I Scorsl gla m oltl paesl Largo a I factotum del la cltta

2 Duets 2 Duets

Dlamo a lia nola II bando: Act I All*Idea dl quel metalIo: Act I (the Conte) (the Conte)

- T rio 1-Trto

Ah! Qua I clopo: Act I I (Rosina, the Conte)

- Quartet

La testa vl glra: Act II (Rosina, the Conte, Bartolo)

Don BasiIIol Glusto c le lI: Act I I Don BasilIol Cosa veggol: Act II (Rosina, the Conte, Don Baslllo, (Bartolo, Rosina, the Conte, Don B artolo) Basi N o)

- Sextet 1_ Sextet

FInaIe II: Act I I Dl si felice Innesto (Rosina, the Conte, Berta, Bartolo, Don B a siIIo , Coro)

1 Septet ..L .Sep.t.e.t

FInaIe: Act I I FInaIe I: Act I Cara sei tu II mlo bene Eh I dl casa. . .buona gente (Rosina, the Conte, Bartolo, (Rosina, the Conte, Berta, Don Alcade, Notaro, Don Baslllo) B a s lllo , B artolo, Don B a s lllo , Coro)

B a siIIo B a siIIo 1 Sol o 1 Sol o

ArI a: Act I Ar I a: Act I La calunnla, mlo signor La calunnla e un ventlcelIo

1 Q uintet L Quin ta l

Don BasiIIo! Glusto c le lI: Act I I Don BasilIol Cosa veggol: Act II (Rosina, the Conte, Figaro, (Rosina, the Conte, Figaro, Bartolo) B artolo) 77

- Sextet 1 Sextet

FInaIe II: Act I I Dl si felIce Innesto: (Rosina, the Conte, Berta, Bartolo, Coro)

1 Septet 1 Septet

F i naIe: Act I I FI na I e I : Act I Cara set tu II mlo bene Eh I dl casa. . .buona gente (Rosina, the Conte, Alcade, (Rosina, the Conte, Berta, Bartolo, Notaro, Bartolo, Figaro) Figaro, U ffIc Ia le , Coro)

Lo Svegllato and Glovlnetto Berta 1 T rio I Sol o

Ma dov'erl tu, stordlto: Act I ArI a: Act I I (Bartolo) II vecchlotto cerca moglle

1 Sextet FInaIe II: Act I I Dl si felIce Innesto: (Rosina, the Conte, Bartolo, Figaro, Don BasiIlo, Coro)

- Septet 1 Septet

Finale I: Act I Ell dl casa. . . buona gente (Rosina, the Conte, Bartolo, Figaro, Don B a s lllo , U fflc la le , Coro)

Notaro and Alcade F io re llo 1 Septet 1 Due.t

FInaIe: Act I I Introduzlone (Including stretta): Cara sei tu II mlo bene Act I (Rosina, the Conte, Bartolo, Eh I Fiorello Don BasiIIo, Figaro) (the Conte) 78

The orchestra which played the premiere performance of Rossini's

"Barblere" consisted of thirty-five members. According to Smith they were not of the highest quallty.45 n0 record of the size or qualIty of the orchestra which premiered Palslello's "Barblere” was found. It can be assumed that It was a professional orchestra which played for all court performances. Palsiello wrote for a smaller variety of

Instruments than Rossini. Rossini's orchestration utilizes more woodwinds, brass and percussion Instruments. The chart below compares the Instrumentation used In the two operas.

Palslel lo Ros-sJilL

O ttavI no FI auto FI auto Obol Oboi C la rIn e ttl

Fagotti Fagotti Corn I Cornl Trombe Tromboni

S Istro Timpani Timpani Gran Cassa

Harpsichord Harpsichord

Mandol1ne G uitar

Viol Ini 1, II Viol Ini 1, 1 V iol e Viol e VIolon cel 11 Vlolon cel 11 ContrabbassI ContrabbassI

45 Erik Smith, Rossini & "II Barblere Pi SIvlqlla". record Jacket notes for Gloach I no Rossini's II Barblere PI SIvfglfa, performed by the Orchestra E Coro Rossini Dl Napoli, conducted by Silvio Varvlso (London, 1381), p. 2. 79

The vocal demands In these two works are very different.

Patslello's vocal melodies tend to be simple rhythmically not very ornate melodtcally, and narrow In range with a medium tessitura. It Is evident that Palsiello did not possess the same creative gift for melodic development as did Rossini. For the most part his melodies lack In te re s t and beauty. P a ls ie llo makes much use of m o tlv lc restatement with variations and seldom restates complete melodies In exact repetition. There are also several Instances where the themes are through-composed. Palsiello repeatedly uses a particular thematic fragment throughout his opera which he has Rosina sing In four d iffe re n t songs. The theme consists of a single note sustained fo r two measures followed by am elism atlc run In sixteenth notes (I.e . measures

48 through 51 of the Finale). It can be found In Roslna's cavatlna and aria, her duet with Bartolo and the Finale.

Palslello's music lacks expressive qualities In general. The writing for the orchestration Is not very colorful, especially as It concerns the wind Instruments which are used Infrequently In comparison with the strings. Also the music for the orchestra Is not very demanding. P a ls ie llo uses heavy cadentlal material a t the end of songs and often between large sections within a given piece. This seems to

Interrupt the flow of action at times.

The vocal characteristics In Rossini's music are Just the opposite of those found In Palslello's opera. Rossini's meiodles are extremely ornate (especially In the parts for Almavlva and Rosina), complex rhythmically, wide In range, full of quick syllabic patter (eighth notes sung very fa s t — especially found In the music for the lower 80 voices), very Interesting, always fresh and beautiful. The music Is extremely demanding of the singers as well as the orchestra. Rossini's work does not lack fo r melodic Ideas although he does tend to repeat large sections of melodies often. Sometimes they are restated In exact repetition and other times with variations. They are always clearly defined units which are easy to recognize. Motlvlc fragments (or figures) are also repeated often throughout the opera.

Rossini was more of a dramatist than Palsiello. His music abounds with fla ir and excitement. He makes a more creative, colorful use of the wind Instruments In p a rtic u la r which are used In abundance. The solo and ensemble pieces tend to be longer than those of P a ls le llo 's , and are usually divided Into sections by tempo markings. They also contain strong cadentlal material In a ll the coda sections.

As was his custom Rossini used music In " II Barbiere" which he borrowed from his other works. Welnstock lists these borrowings as follow s:

1. From La Camblale dl matrlmonlo: from the end of Fanny's a ria "Vorrel splegarvl II g lu b llo ," a melody used In the cabaletta of the firs t act RosIna-FIgaro 'duet "Dunque Io son, tu non m 'lngannl," a t the words "Ah, tu solo Amor tu s e i";

2. From II Signor Bruschlno: four and a half measures of a melody In the bass-soprano duet "E un bel nodo che due cor I," a motive used for orchestra alone during Bartolo's "A un dottor dell amla sorte," to the text words "I confetti alia ragazza; II rlcamo sul tamburro";

3. From Aurellano In Palmira: the f i r s t eight measures of A rs a c e 's rondo "Non Ia s c I arm I In ta l momento, " In Roslna's " lo sono d o c ile " ("Una voce poco fa " ) ; also the f i r s t s ix measures of the p rie s tly chorus "Sposa del grande O s !rid e ," In Almavlva's "Ecco rldente In c le lo "; also a figure from the Arsace-ZenobI a duet, at the beginning of BasilIo's "La calunnla e un ventlcello"; 81

4. From the cantata "Egle ed Irene": a melody with echo response In the allegro section ("Vol che amate, complangete"), In the second act trio "Ah qual colpo," at Roslna’ s words "Dolce nodo avventurato, Che fa l paghl I mlel deslrl";

5. From Slglsmondo: a motive from the introductory chorus to Act II ("In segreto a che chi chlama"), as the motive of the Introductory chorus, "Plano, pianissimo"; also the motive treated crescendo In the Lad I siao-AIdImlra Act I duet, In the crescendo of "La calunnla";

6. "Reminiscences" from other composers (pointed out by Radlclottl): from Haydn's Die Jahreszelten, a motive from Simon's aria, In the allegro section of the second act t r io , a t F igaro's words " Z I t t I , z l t t l , piano, piano"; from S p o n tln l's La Vestale, a melody from the second act finale, In the Act I finale at the words "Mi par d'esser col la testa in un'orrlda fucina." Radlclottl noted that the Spontlnl melody also had been quoted In Nicola Antonio Manforce's opera "Ecuba" (San Carlo, Naples, 1813).46

Both composers use secco r e c lta tlv o In t h e ir works. The key

signature for each recltatlvo Is C major, except for the recltatlvo

strumentato sung by the Count In R ossini's opera. This p a rtic u la r

re c lta tlv o precedes the Count's fin a l aria and Is accompanied by the orchestra. The remainder are all accompanied by harpsichord. The

recltatlvo are characterized by sustained chords, frequent modulations,

an absence of tempo markings and Irregular rhythmic patterns In the melody. This Is designed to fit the contour of the words and produce a

"parlando" effect when sung.

An analysis of representative pieces from the two "Barblere"

reveals that the harmonic structures of these two works are very

similar. There are two general characteristics which dominate the

music of both operas. They are the use of diatonic harmonies and

46 Welnstock, op. c l t . . pp. 56-57. 82 secondary dominants. Each composer makes extensive use of the to n ic , subdominant, and dominant harmonies. At times Palsiello seems to overuse some of these harmonies which makes the music very uninteresting. Frequent use Is also made of secondary dominants, especially the V of V. In the passages examined, P a ls ie llo used more

V? chords than Rossini.

Modulations to other keys within a piece are not as prevalent as the b rie f excursions to secondary dominants. When extended key changes are made however, Palsiello and Rossini each make effective use of them. These modulations usually denote a change In mood, action or the

Introduction of another character (I.e. Figaro's aria "ScorsI gl^ moltl paesl" — Palsiello; Figaro's entrance In Finale I — Rossini).

Rossini uses the Instruments for doubling the voices more than

P a ls ie llo . This occurs frequently In his ensemble pieces. An example of th is can be found In measures 56 through 88 In the Vivace section of

Finale I. Chromatic movement Is more frequently found In Rossini's music than Palslello's. CHAPTER FOUR

SUMMARY

Through his genius P ierre Beaumarchais created an unforgettable work In "Le Barbler de Sevllle." In so many ways It reflects the IIfe, views, and personality of Its creator. This was understood best by the audiences who viewed the play with the playwright himself In Paris, and

Is best appreciated now with a knowledge of Beaumarchais’ life .

By setting Beaumarchais’ work as operas Palsiello and Rossini have

spread its fame even further and have led countless others to enjoy Its magic, though from a different perspective. Having undergone

significant textual changes In Its transformation to libretto form, the works of these two composers are not the same as "Le B arbler" was originally conceived by Beaumarchais. In the opinion of this author,

th a t which was fo rfe ite d In terms of o rig in a l purpose and design was

e a sily recovered by Rossini through the abundance of his beautiful

music. The changes were Introduced fo r various reasons but u ltim a te ly

to show the work In Its best light as a musical form.

The labors of the two librettists have brought them International

recognition. The same Is true for the composers. Using a similar

structural format for their operas, the same plot (with variations),

different stylistic approaches and creative talents, Palsiello and

Rossini were able to create works that have lived long after them; and

In the case of Rossini, a work that has been called the greatest opera

buffa ever written.

83 APPENDIX A

COSTUME NOTES FOR THE ORIGINAL PLAY

84 85

THE BARBER OF SEVILLE COSTUME NOTES

Count Almavlva, Spanish grandee, appears In the f i r s t act In satin Jacket and breeches; he Is enveloped In a large brown cloak or Spanish cape, and has on a black slouch hat with a colored band. In the second act he Is dressed In cavalier's uniform, with Imposing boots and a m ilita ry moustache. In the th ird act he Is garbed as a student (B .A .) with a large ruff at the neck, long Jacket and breeches, and abbe's cloak. In the fourth act he Is superbly clothed In the costume of a Spanish grandee, with a rich cloak, all of which Is enveloped by the large Spanish cape used In the f i r s t act.

Dr. Bartholo has on a black, short, buttoned suit with wide ruff and cuffs, and for outdoors a long scarlet cloak. He wears a wig.

Figaro, the Barber of Seville, has a small band around his head; he wears a white hat with a colored ribbon, a loose neckerchief, satin vest and trunkhose with buttons and si Iver-frInged buttonholes, a silk sash, garters fastened with tassels which hang prettily down the leg, and a jacket In striking contrasting color to that of the vest. While stockings and gray shoes complete his costume.

Don Bazile, the music-master, Is dressed very simply In a suit without cuffs or ruff. He has on a black scmbrero or slouch hat, a short cassock and a long cape. f s La Jeunesse and L 'E v e llle , B arth o lo 's servants, are dressed In the customary Galician costume of the period: buff-colored vest, buckled leather belt, blue breeches and a jacket of the same color, open at the shoulders to admit the arms.

Wigs may be dispensed with, as they are not absolutely essential. At this period fashions were changing rapidly and the wig was "going out" and natural hair "coming In."

In a performance of "The Barber" given March, 1939 by Le Theatre Des Quatre Salsons, Don Bazile was dressed altogether In black. This gave him an appearance of villainy quite In keeping with his character.1

Vferre Beaumarchais, The Barber of Seville, trans., Stewart Robb (London: Samuel French, 1939), pp. 95-96. APPENDIX B OTHER COMPOSERS OF "LE BARB IER"

86 87

1782 Friedrich Ludwig Benda (In Ham)

1783 Johann Zacharlas Elsperger (In Sulzbach)

1786 Johann Abraham Schulz (In Relnsberg)

1796 Nlccolo Isouard (In Valetta)

1815 Francesco MorlacchI (In Dresden)

1868 Costantino Dall'Arglne (In Bologna)

1879 Ach111e GraffIgna (In Padua)

1901 Jeronimo Jimenez (In Madrid)

1922 Leopoldo Cassone (In Turin)!

Welnstock states that as early as 1776 a German version of "Le B arbler” was staged a t Dresden with an overture, ten a ria s , two duets, and a chorus by Friedrich Ludwig Benda (1752-92). In that same year an opera on the subject by Johann Andre (1741-99) was produced at Bel In. Alberto Torazza staged his version a t S estrl Ponente In 1924.2

^Georges Lemaltre, Beaumarchals. (New York: A lfre d A. Knopf, 1949), p. 350. 2, "Herbert Welnstock, Biography, (New York: Alfred A. Knopf, 1968), p. 412. BIBLIOGRAPHY

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Dent, Edward J. tra ns. The Barber. of. .. Sev 11.La. London: Oxford University Press, 1940.

Derwent, Lord. Rossini and -Some Forgotten Nightingales. London: Duckworth, 1934.

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Music

Palslello, Giovanni. 11 Barblere dl SivIglla, Piano-vocal score ed. by Mario Parentl. Milano, Italy: G. Rlcordl & Co. 1975.

Palslello, Giovanni. The Barber of Seville. New York: Edwin F. Kalmus, 1970.

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