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Gioacchino Rossini (1792- 1868) is one of the most prolific comedic opera composers of his time. “He was outstanding in his comic opera and was one of the three great 19th-century exponents of the bel canto style, which emphasizes beauty of melodic line, rather than excessive drama and emotion.” (Funk) Rossini composed his first opera at the age of eighteen and was “… trained at the Conservatorio de Bologna…” (Funk) producing a total of 37 operas. His most successful opera is definitely <em>The Barber of Seville </em>produced in Rome in 1816. (Funk) Rossini left his mark on the world of opera, producing an opera which is still loved to this day. “Rossini used the highly artistic bel canto style to fashion bright melodies, which the singers could deliver with brilliant effects and stirring expression.” (Funk) Because of Rossini’s ability to create such a masterpiece of a comedic opera which has stood the test of time, and still performed today it deserves to be preserved for future generations.<!--more-->

During the time of Rossini’s production of the opera, Europe was in a vulnerable state as Napoleon was exerting his power throughout the Napoleonic wars. The Congress of Vienna (1814-1815) was called to reorganize Europe after the Napoleonic wars. “The settlement was the most comprehensive treaty that Europe had
ever seen.” (Britannica) The direct effects “In <a title="Italy" href="http://www.britannica.com/EBchecked/topic/297751/history-of-Italy">Italy</a>, [were that] Piedmont absorbed Genoa
… The <a title="Papal States" href="http://www.britannica.com/EBchecked/topic/441848/Papal-States">Papal States</a> were restored to the pope, Naples to the Sicilian Bourbons.” (Britannica) In America,
during the year of 1816 president James Monroe was also elected into office. In
relation to the events in Europe with revolutions, wars, and colonization he proposed the Monroe Doctrine. In doing
so he drastically changed the role of foreign powers in the Western Hemisphere
by declaring no future colonization of theAmericas. (Britannica)

The
style which Rossini was accustomed to listening to was the Baroque period lasting from the 16<sup>th</sup> century to the 18<sup>th</sup> century. “Idiomatic
writing, taking account of the individual character and capacities of
instruments and voices, was characteristic of <strong>baroque</strong> music. Originating in Italy, <strong>opera</strong><strong>,</strong>
oratorio, and cantata were the principal vocal forms.” (Columbia) This is all exemplified by Rossini
in his <em>The Barber of Seville </em>as it is
renowned for its characterization of the Barber who was a servant.

Rossini is known for his comedic operas which spurred from a time of war throughout Europe.
Rossini was born with a great musical talent as “His parents were both
musicians, and he began his career in childhood as a singer. He received his
first formal musical education at the Liceo Comunale of Bologna, where one of his early cantatas was
performed.” (Columbia) Although Rossini is known to have made 37 operas, <em>The Barber of Seville </em>is his all-time best opera.

The opera is a comedic drama with love, betrayal,
heartbreak, and multiple songs of love. The opera begins at Dr. Bartolo’s
house, where Count Almaviva is proclaiming his love to Rosina, the doctor’s
ward. Figaro, the town barber and Dr. Bartolo’s barber joins him in song as
they both plan to capture the heart of Rosina. Rosina is watched carefully by
the Doctor’s guardian and she drops a letter down to the Count explaining her
love. The doctor is suspicious of the Count as he himself wants Rosina for her
beauty and money. The count disguises himself as a Music teacher to gain access
into the home of the doctor. Figaro, the barber, has obtained keys to the
balcony and they plan on an escape at midnight. The doctor tells Rosina he has
found the letter that she left for him in attempt to make her jealous. She is
so angry that she tells him the escape plan and agrees to marry the guardian.
When Figaro and the Count return, the lovers are re-united and the notary, who
was supposed to come for Rosina and the doctors wedding, celebrates the
elopement of the love pair. “When the guardian enters, with officers of justice,
into whose hands he is about to consign Figaro and the Count, he is too late,
but is reconciled by a promise that he shall receive the equivalent of his
ward’s dower.” (Music with Ease)

This opera is simplistic in nature, as it gives off the vibe that it could have been
a true story. Especially when compared to today’s mega dramas of large scale
proportions. The initial reception of Rossini’s <em>The Barber of Seville </em>was that of a fiasco (failure) due to
multiple on-stage catastrophes. “The tenor forgot to tune his guitar, and a
string broke as he attempted the opening Serenade: the Don Basilio fell and
bruised himself badly during his entrance, and became distracted as he
attempted to stop blood from flowing from his nose during his <em>La Calunnia </em>aria;
and a cat entered the stage during the second act and jumped into Dr. Bartolo’s
arms. All in all, the <em>Barber’s </em>premiere received a big tide of
disapproval.”(CALGARY)  Nonetheless Rossini perfected his opera and it has gone on to become one of the most
beloved operas of all time.

The character Figaro in itself is not solely confined to the opera <em>The Barber of Seville. </em>The character is also found in Mozart’s <em>Marriage of Figaro </em>(1785) which is the tale of Figaro getting married to his wife Susanna. The <em>Marriage of Figaro </em>isn’t considered to be your typical opera as there isn’t any standard plot to it. In Mozart’s opera we have Figaro again meddling around in other couples marriages and this time he is the one getting married. Mozart’s opera is somewhat of a
prequel to Rossini’s as it was performed originally in 1785. Both operas are
based off the opera of French legend Beaumarchais who inspired both Rossini and Mozart.
In Mozart’s the climax comes when the parents of Figaro come into town and
Marcellina (his mother) refers to a  previous arrangement that was made with Figaro to get married if a debt
wasn’t repaid on time. The Count in this story, was plotting to marry Susanna
for himself, although he himself was married as well. When he learns of the
arrangement between Marcellina and Figaro he promises to give her the marriage.
Well once everyone found out that the parents of Figaro are Marcellina and her
husband, everything goes according to plan and Figaro marries Susanna. (Music
with Ease)

The difference in the operas is apparent as the tale of The Barber of Seville has a
bit more conspiracy and the comedic approach of the Count entering the house in
disguises leads one to see the desperate nature the Count had for Rosina. Mozart’s
is just a tale of a big confusion of emotions and there isn’t a real change of
plot or element of surprise other than the woman who demanded for Figaro’s
marriage is his mother. Rossini’s play is still being performed today where as
Mozart’s is too, Rossini’s is held as one of the greatest comedic operas of his
time.  Rossini’s opera is still being
performed today and is still held as remarkable for all of its comedic
proficiency.

Personally I think that Rossini’s Barber is an opera that should be required in grade
school reading classes. The tale falls into the category of Romeo &amp; Juliet
with its love conspiracy and the fact that the characters will go through
whatever it takes to reach their goal of love. Figaro is a brave man to betray
his customer, Dr. Bartolo to the point of costing him his ward Rosina. Most
meaningful in this piece is the light comedic aspects of the opera which
highlights laughter, betrayal, love, and a big sense of irony.

Although there have been many operas in the world that may deserve preservation into my
time capsule, none deserve it more than Rossini’s <em>The Barber of Seville.
</em>Rossini was able to take an already good opera, and make it even better. He
faced a great deal of adversity as the performance of this opera was a complete
failure of enormous proportions. Where most composers may have hung up their
boots and quit, Rossini persevered on and is still being commemorated today. Although
Rossini may not have anticipated his opera continually being performed well
into the 21<sup>st</sup> century, the evidence is there that The Barber of
Seville deserves preservation for future generations.

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<p align="center">WORKS CITED</p>
"ROSSINI, Gioacchino Antonio."
(n.d.): <em>Funk &amp; Wagnalls New World
Encyclopedia</em>. Web. 2 Nov. 2011.

"Congress of Vienna."
<em>Encyclopædia Britannica.
Encyclopædia Britannica Online</em>. Encyclopædia Britannica Inc., 2011.
Web. 02 Nov. 2011. &lt;<a href="http://www.britannica.com/EBchecked/topic/628086/Congress-of-Vienna">http://www.britannica.com/EBchecked/topic/628086/Congress-of-Vienna</a>&gt;.

"Monroe
Doctrine." <em>Encyclopædia
Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica
Inc., 2011. Web. 02 Nov. 2011. &lt;<a href="http://www.britannica.com/EBchecked/topic/390243/Monroe-Doctrine">http://www.britannica.com/EBchecked/topic/390243/Monroe-Doctrine</a>&gt;.

"Baroque, In
Music." <em>Columbia</em><em>
Electronic Encyclopedia, 6Th Edition</em> (2011): 1. <em>MAS Ultra - School
Edition</em>. Web. 2 Nov. 2011.

"Gioacchino Antonio
Rossini." <em>Columbia</em><em>
Electronic Encyclopedia, 6Th Edition</em> (2011): 1. <em>MAS Ultra - School
Edition</em>. Web. 2 Nov. 2011.

"The
Barber of Seville."
<em>Music with Ease</em>. Music with Ease, 2005-2011. Web. 2 Nov 2011.
&lt;http://www.musicwithease.com/barber-seville-synopsis.html&gt;.

Forrest,
Emily. "The Barber of Seville
Study Guide." Calgary
Opera, 04/23/2009. Web. 2 Nov 2011.
&lt;http://www.calgaryopera.com/pdf/BarberOfSevilleStudy Guide.pdf&gt;.

<em>“Marriage of Figaro” Music with Ease</em>.
Music with Ease, 2005-2011. Web. 2 Nov 2011. &lt;http://www.musicwithease.com/mozart-marriage-figaro.html&gt;

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