BARBER OF SEVILLE, opera bouffe in two acts by Gioacchimo Rossini (libretto by Sterbini, founded on Beaumarchais' celebrated play). First produced in Rome 5 Feb. 1816. The work, destined to become one of the most popular in operatic repertory, was at first a dismal failure, due largely to popular resent ment at the use of a subject, which had al ready been turned to account by other com posers, especially Paisiello, whose setting had been a favorite with the Italian opera public. It was not long, however, before the tables were turncd and Paisiello's
mates speech more nearly than song, but is con stantly about to break into music. Its mo notonous character is undeniable and it has largely disappeared from operatic writing, sup planted by the more musical song-speech of the modern music drama. Among the indi vidual musical numbers, attention may be focussed on Figaro's buffo aria, Largo al factotum, celebrated the world over, Rosina's cavatina, Una vote poco fa, which has done service for most of the great prima donnas of the 19th century and the "calumny') aria of Don Basilio. For the famous music lesson scene, Rossini wrote a concerted number, but it has been lost — providentially, from the viewpoint of the prima donna, who has thus been able to introduce a show piece of her own choice and so at once to pique the curiosity and astonish the ears of her audience.
The Barber remains in the active repertory of most of the opera companies and bears well its century of life. The first performance in America took place in New York on 17 May 1819, in an English translation under the direc tion of Thomas Phillips; and in 1825 it was produced in the authentic Italian version by Manuel Garcia's Italian Opera Company, which introduced many of the Italian operas to the American public. Adelina Patti was an unfor gettable Rosina, while, in more recent years, Marcella Sembrich found the rOle a grateful one.