“Barber of Seville.”  The original overture was lost in some manner, and that of “Aureliano” substituted.  In the scene beneath Rosina’s balcony Garcia introduced a Spanish air of his own; but it failed, and before the second performance Rossini wrote the beautiful cavatina, “Ecco ridente il cielo” in its place, the melody borrowed from the opening chorus of his “Aureliano,” and that in turn from his “Ciro in Babilonia.”  The subject of the effective trio, “Zitti, zitti,” was taken from Haydn’s “Seasons,” and the aria sung by the duenna Berta ("Il vechiotto cerca moglie"), from a Russian melody he had heard a lady sing in Rome and introduced for her sake.  For the music-lesson scene Rossini wrote a trio which has been lost; and thus an opportunity has been given Rosinas to interpolate what they please.

The scene of the opera is laid at Seville, Spain.  Count Almaviva has fallen in love with Rosina, the ward of Dr. Bartolo, with whom she resides, and who wishes to marry her himself.  After serenading his mistress, who knows him only by the name of Count Lindoro, he prevails upon Figaro, the factotum of the place, to bring about an interview with her.  In spite of her guardian’s watchfulness, as well as that of Don Basilio, her music-teacher, who is helping Bartolo in his schemes, she informs the Count by letter that she returns his passion.  With Figaro’s help he succeeds in gaining admission to the house disguised as a drunken dragoon, but this stratagem is foiled by the entrance of the guard, who arrest him.  A second time he secures admission, disguised as a music-teacher, and pretending that he has been sent by Don Basilio, who is ill, to take his place.  To get into Bartolo’s confidence he produces Rosina’s letter to himself, and promises to persuade her that the letter has been given him by a mistress of the Count, and thus break off the connection between the two.  By this means he secures the desired interview, and an elopement and private marriage are planned.  In the midst of the arrangements, however, Don Basilio puts in an appearance, and the disconcerted lover makes good his escape.  Meanwhile Bartolo, who has Rosina’s letter, succeeds in arousing the jealousy of his ward with it, who thereupon discloses the proposed elopement and promises to marry her guardian.  At the time set for the elopement the Count and Figaro appear.  A reconciliation is easily effected, a notary is at hand, and they are married just as Bartolo makes his appearance with officers to arrest the Count.  Mutual explanations occur, however, and all ends happily.

The first act opens after a short chorus, with the serenade, “Ecco ridente in cielo,” the most beautiful song in the opera.  It begins with a sweet and expressive largo and concludes with a florid allegro, and is followed by a chorus in which the serenaders are dismissed.  In the second scene Figaro enters, and after some brief recitatives sings the celebrated buffo aria, “Largo al factotum,” in which he gives an account of his numerous avocations.  The aria is full of life and gayety, and wonderfully adapted to the style of the mercurial Figaro.