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the street, singing a song ("Bannissons le chagrin"); he and the Count recognize each other. While the two men talk, Dr. Bartholo and Rosine come to a window of the house. Rosine pretends to drop a piece of sheet music from her window inadvertently. While the doctor is coming down the stairs to retrieve it, Rosine instructs the Count to pick up the sheet himself. He does, and finds a note from Rosine hidden inside it; in the note she asks him to explain who he is and why he has followed her to
Seville, by way of singing his answer to the tune of the song. Figaro tells the Count that Rosine is the ward of Dr. Bartholo, and adds that as he is the doctor's barber and apothecary, he frequents the house. He proposes a plan to smuggle the Count into the house by disguising him as a drunken soldier in need of lodging.
433:, who are probably the ones that renamed him Figaro. After he grew "disgusted with their ways" he left to become a surgeon, and apparently took up a short-term job in the household of Count Almaviva during this time to support himself. Though the Count referred to him as a "rather bad servant," he was pleased enough with Figaro to write him a recommendation to the Bureau in Madrid, where he was given a job as an assistant veterinary surgeon, much to his disappointment. While working there, he began dabbling in a literary career, apparently with great success. He was fired from the Bureau but stayed on in Madrid for a time trying to work as a publisher and playwright. He angered the censors with several of his works, and was briefly imprisoned. Eventually he gave up writing, and set himself up as a
457:" he set up shop in Seville, where he became reacquainted with Count Almaviva, and after assisting him with some romantic troubles, was hired as the Count's personal valet. He evidently retains this position for the remainder of his life. It is after he returns to work for the Count that he marries Suzanne, though at what point he met her is unclear. Given that Suzanne's uncle Antonio works for the Count, it seems likely she was hired on his recommendation when the Countess moved into the palace and a maid was needed for her, in which case she and Figaro would have met after the events of
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Rosine's fingers; suspicious, he demands to know what she wrote. When she continues to deny writing anything, he accuses Figaro of having seduced her. Rosine leaves. Figaro is shown to be hiding in a cabinet. He listens as
Bartholo and Bazile discuss the inquiries Count Almaviva has been making all over town about Rosine. They hatch a plan to spread malicious gossip about the Count so that if he ever should find her, she will be too disgusted with him to want to form a relationship.
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keeps addressing him as "my lord", however, and inquires as to the reason. The Count then reveals his true identity, and Rosine forgives him. The Judge enters, and the Count takes him and has him draw up a marriage contract between himself and Rosine. Bartholo comes in just a moment after it is signed, and after making some futile arguments against the contract's validity, resigns himself. As a consolation he is given Rosine's dowry money to keep.
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comes out, looking for the Count; Bartholo goes to her and tells her that the man in the house was working for a notorious womanizing count named
Almaviva, who plans to have his agents kidnap her. Rosine believes this story and becomes outraged. She agrees to marry Bartholo, and he goes out to find a judge to perform the marriage ceremony. Rosine runs to lock herself in Marceline's room to avoid the impending abduction she expects.
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the law that requires people to lodge soldiers. When he goes to find the paperwork that certifies this, the Count slips a note to Rosine. The doctor returns and sends the Count away. He sees Rosine with the note and demands she show it to him; but she is able to switch it with an innocent letter that extinguishes
Bartholo's fears. Rosine reads the actual note, which contains instructions for her to start a fight with Bartholo.
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Bartholo. She recognizes the Count ("Lindor") and becomes calm. The Count accompanies Rosine on the piano as she sings ("Quand, dans la plaine"). Lulled by the music, Bartholo keeps falling asleep; each time he does so the Count begins kissing Rosine, the music stops and the Doctor wakes up, forcing Rosine and the Count to scurry back to their music, and the
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The stage is dark and music suggesting a lightning storm is played. Bazile admits to
Bartholo what happened earlier in the day, and speculates that the man in the house may have been the Count. He advises against Bartholo's plan to force a marriage with Rosine, but Bartholo takes no heed. Rosine then
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with a girl called Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student named Lindor, and attempts to woo her. His plans are foiled by Rosine's guardian, Doctor
Bartholo, who keeps her locked up in his house and intends to marry her
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repeats. After the lesson, the doctor sings his own song to Rosine ("Veux-tu, ma
Rosinette"). Figaro arrives and tries to distract Dr. Bartholo by shaving him so that Rosine and the Count will be alone together, but Bartholo catches on, especially when Bazile arrives to give Rosine her music lesson.
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They leave. Figaro goes to Rosine and warns her that
Bartholo plans to force her to marry him before morning. At this point the Count enters disguised as an inebriated soldier, and sings a song to the tune of "Vive le vin". He presents a forged lodging billet. The doctor explains he is exempted from
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Figaro and the Count break into the house, discussing the Count's plan to propose marriage to Rosine, and worrying about how to break the news that he is really a count. Rosine comes back out to yell at him, and tell him she knows all about his horrible scheme to kidnap her: she notices that Figaro
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The two are interrupted when they overhear Dr. Bartholo making plans to secretly marry Rosine during the night, before he leaves to see his friend Bazile, who is to make the arrangements. Afterwards, the Count sings to Rosine ("Vous l'ordonnez, je me ferai connaître... Je suis Lindor"), introducing
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Scene: the street in front of Dr. Bartholo's house in
Seville. The Count, disguised as a poor university student, waits in hope of catching a glimpse of Rosine, whom he encountered in Madrid and has followed to Seville. To this point they have never spoken to each other. Figaro happens to come down
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and therefore has access to the Doctor's home. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk, first as Lindor, then as Alonzo, a fellow student of the same music master, Bazile. The
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According to the information Figaro gives at various points throughout the plays, his life story appears to be thus: he was the illegitimate son of Dr. Bartholo and his maid
Marceline, and presumably therefore given his mother's family name, was born Emmanuel de Verte-Allure. He was kidnapped as a
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In Dr. Bartholo's house, Rosine writes a note to "Lindor". When Figaro drops in, she asks if he will deliver the note. Figaro agrees. The moment he steps out, Dr. Bartholo comes in, complaining that Figaro has given incapacitating medical treatments to all the servants. He notices ink stains on
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The Count comes to the house again, disguised this time as a teacher. He tells Bartholo that Bazile is sick and has sent him as a substitute to give Rosine her music lesson for the day. Rosine enters pretending to be quite angry, having chosen the music lesson as an excuse to pick a fight with
467:, Rosine claims that Figaro has a daughter, but because this is never mentioned again by any other characters or in the other plays, and because it comes up during a lie Rosine tells to conceal her relationship with the Count, it is probable that she made this up. In
398:: "I must force myself to laugh at everything lest I be obliged to weep." Though he is normally calm, collected and intelligent, he can be irrational when angered. The name "Figaro" was invented by Beaumarchais for this character, and it has been theorized by
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Le Barbier de Séville (1773), act I, scene II, Pierre de Beaumarchais, Note: Translation varies with "I force myself to laugh at everything, for fear of having to cry." Original French is 'Je me presse de rire de tout, de peur d'être obligé d'en
271:, requiting his affections, before she is caught by someone else inside and is forced to retreat. Figaro and the Count go their separate ways, agreeing to meet again to put their plan in action.
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Though the play was poorly received at first, Beaumarchais worked some fast editing of the script, turning it into a roaring success after three days. The play's title might be a pun on
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in two acts premiered in 1816. Despite the opera’s disastrous premiere its popularity even overshadows Beaumarchais' original play. Other lesser-known adaptions include those by
335:, dramma giocoso in four acts first performed in 1782, is probably the earliest opera adaptation still occasionally heard in the repertoire. The most famous opera adaptation is
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394:, and like his predecessor he is a clever liar; moral and yet unscrupulous; good humored, helpful and brave, though somewhat embittered and cynical. As he says in
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100:. The play as it is now known was written in 1773, but, due to legal and political problems of the author, it was not performed until February 23, 1775, at the
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himself. The Count's luck changes, however, after a chance reunion with an ex-servant of his, Figaro, who is currently working as a
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went into production almost a decade later, however, he felt himself too old to repeat the part and turned it over to fellow actor
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himself as a poor man named Lindor who is in love with her. From inside the house, Rosine sings a verse to the tune of
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structure, with many characters seemingly based on famous stock characters. The plot involves a Spanish
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Beaumarchais's play has been adapted into several operas, most of them forgotten today.
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are shown in this picture, which portrays Figaro dressed in the costume and mask of
30:"Le Barbier de SĂ©ville" redirects here. For the 1948 French film of that title, see
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that it is made from a phonetic transcription of the words "fils Caron" (
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Librivox audio performance of the William Raymond Taylor translation
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story culminates in the marriage of the Count and Rosine.
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The Figaro Trilogy: a new translation by David Coward
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by Thomas Bauman and Marita McClymonds, p. 243
406:having been the given surname of the playwright).
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487:The Barber of Seville and The Marriage of Figaro
1075: Opera
1037: Opera
67:The Barber of Seville or the Useless Precaution
1933:Le barbier de Séville ou La précaution inutile
610:Le barbier de Séville ou la précaution inutile
437:. After "pensively proceeding through the two
76:Le Barbier de Séville ou la Précaution inutile
1270:Tromb-al-ca-zar, ou Les criminels dramatiques
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633:(11th ed.). Cambridge University Press.
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638:English translation by Elizabeth Griffiths
96:, and was rejected as such in 1772 by the
1943:La folle journée, ou Le mariage de Figaro
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904:The Crazy Day or The Marriage of Figaro
47:A scene from a 19th-century version of
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36:The Barber of Seville (disambiguation)
18:Figaro (character in operas and plays)
1469:Croquefer, ou Le dernier des paladins
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640:with links to the French sheet music
300:The Count discreetly hands Bazile a
1509:M. Choufleuri restera chez lui le …
792:Adventures of the Barber of Seville
235:(Youth), Bartholo's elderly servant
90:. It was initially conceived as an
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27:French play by Pierre Beaumarchais
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179:is not clear), who has fallen in
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1569:La Grande-Duchesse de GĂ©rolstein
1333:La chatte métamorphosée en femme
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1005:Fantasy on Themes from Mozart's
937:Sull'aria...che soave zeffiretto
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1889:(chinoiserie musicale) (1855)
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2019:Plays by Pierre Beaumarchais
578:Beaumarchais and the Theater
501:, Cambridge University Press
32:Le Barbier de SĂ©ville (film)
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1722:La permission de dix heures
1406:Le financier et le savetier
580:, by William Driver Howarth
544:Opera and the Enlightenment
533:"Vive le vin, vive l'amour"
520:"Online Library of Liberty"
499:Opera and the Enlightenment
377:Statue of Figaro (1873) by
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1609:La princesse de Trébizonde
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384:Figaro is inspired by the
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2034:Plays adapted into operas
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86:, with original music by
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1323:Le mariage aux lanternes
1053:The Ghosts of Versailles
823:(Woody Woodpecker, 1944)
813:Our Gang Follies of 1938
555:Pierre-Louis Duchartre,
409:The role was created in
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135:The Trickster of Seville
1107:The Abduction of Figaro
710:(Paisiello, 1782 opera)
707:Il barbiere di Siviglia
630:Encyclopædia Britannica
88:Antoine-Laurent Baudron
1845:Le voyage dans la lune
1692:La chanson de Fortunio
1293:La rose de Saint-Flour
987:The Marriage of Figaro
979:The Marriage of Figaro
963:The Marriage of Figaro
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459:The Barber of Seville.
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34:. For other uses, see
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1191:The Tales of Hoffmann
1115:Figaro Gets a Divorce
847:(Tom and Jerry, 1964)
820:The Barber of Seville
784:Le Barbier de SĂ©ville
776:The Barber of Seville
768:The Barber of Seville
760:The Barber of Seville
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718:(Rossini, 1816 opera)
715:The Barber of Seville
690:The Barber of Seville
601:Le Barbier de Seville
465:The Barber of Seville
411:The Barber of Seville
396:The Barber of Seville
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342:The Barber of Seville
332:The Barber of Seville
217:, Don Bartholo's ward
51:. Its origins in the
49:The Barber of Seville
46:
2039:Plays set in Seville
1966:List of compositions
1923:Le malade imaginaire
1896:Lischen et Fritzchen
1489:Geneviève de Brabant
1436:Mesdames de la Halle
1383:Pierrette et Jacquot
899:(Mozart, 1786 opera)
605:at Wikimedia Commons
1762:La jolie parfumeuse
1519:Le pont des soupirs
680:Pierre Beaumarchais
429:baby and raised by
369:Character of Figaro
363:Francesco Morlacchi
211:, barber of Seville
181:love at first sight
84:Pierre Beaumarchais
2029:Plays set in Spain
1589:L'île de Tulipatan
1343:Un mari Ă la porte
1094:(Mercadante, 1835)
1056:(Corigliano, 1991)
831:(Bugs Bunny, 1950)
557:The Italian Comedy
493:The Italian Comedy
489:, Penguin Classics
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1996:Compositions
1989:
1973:
1959:
1941:
1932:
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1894:
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1876:Le violoneux
1874:
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1825:Opéra féerie
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1562:(1866, 1873)
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1459:Opéra bouffe
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1867:Other types
1855:Whittington
1712:Les bergers
1549:Barbe-bleue
1373:Pomme d'api
1219:Le papillon
946:discography
743:discography
447:Extremadura
233:La Jeunesse
2024:1775 plays
2013:Categories
1886:Ba-ta-clan
1231:(arranged
863:The Barber
803:Shorts and
506:References
227:Don Bazile
193:Characters
173:first name
1782:La créole
1772:Bagatelle
1742:Vert-Vert
805:animation
568:pleurer."
455:Andalusia
443:la Mancha
439:Castilles
392:Brighella
365:in 1816.
353:in 1796,
239:L'Éveillé
106:Tuileries
59:Harlequin
1926:(1851/2)
1752:Fantasio
1672:L'alcĂ´ve
1283:Opérette
865:" (1993)
415:Préville
347:commedia
157:Synopsis
1499:Barkouf
1209:Ballets
1194:(1881)
1068:Related
1014:(Liszt)
855:Related
495:, Dover
475:Sources
431:gypsies
417:. When
203:grandee
177:surname
104:in the
1946:(1852)
1936:(1852)
1858:(1874)
1848:(1875)
1838:(1872)
1815:(1880)
1805:(1879)
1795:(1878)
1785:(1875)
1775:(1874)
1765:(1873)
1755:(1872)
1745:(1869)
1735:(1867)
1725:(1867)
1715:(1865)
1705:(1862)
1695:(1861)
1685:(1853)
1682:PĂ©pito
1675:(1847)
1652:(1878)
1642:(1877)
1632:(1874)
1622:(1869)
1612:(1869)
1602:(1868)
1592:(1868)
1582:(1868)
1572:(1867)
1552:(1866)
1542:(1864)
1532:(1862)
1522:(1861)
1512:(1861)
1502:(1860)
1492:(1859)
1482:(1858)
1472:(1857)
1449:(1861)
1439:(1858)
1429:(1861)
1419:(1856)
1409:(1856)
1386:(1876)
1376:(1873)
1366:(1863)
1356:(1860)
1346:(1859)
1336:(1858)
1326:(1857)
1316:(1857)
1306:(1856)
1296:(1856)
1273:(1856)
1263:(1855)
1184:(1864)
1171:Operas
1007:Figaro
990:(1960)
982:(1949)
974:(1929)
971:Figaro
966:(1920)
839:(1952)
795:(1954)
787:(1948)
779:(1947)
771:(1938)
763:(1904)
453:, and
449:, the
321:Operas
252:Alcade
246:Notary
215:Rosine
209:Figaro
186:barber
141:Mozart
72:French
1303:Le 66
915:Music
888:Stage
726:Music
699:Stage
404:Caron
308:Act 4
296:lazzo
288:Act 3
275:Act 2
258:Act 1
175:or a
169:count
1009:and
955:Film
752:Film
137:).
114:and
80:play
463:In
339:'s
329:'s
250:An
153:".
145:K.
82:by
2015::
627:.
445:,
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425:.
357:,
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244:A
120:.
74::
1235:)
1155:e
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732:"
672:e
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133:(
70:(
61:.
38:.
20:)
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