We should also, in all likelihood, be struck by the difference in the moral atmosphere of the two works.  It took Beaumarchais three years to secure a public performance of his “Mariage de Figaro” because of the opposition of the French court, with Louis XVI at its head, to its too frank libertinism.  This opposition spread also to other royal and imperial personages, who did not relish the manner in which the poet had castigated the nobility, exalted the intellectuality of menials, and satirized the social and political conditions which were generally prevalent a short time before the French Revolution.  Neither of the operas, however, met the obstacles which blocked the progress of the comedies on which they are founded, because Da Ponte, who wrote the book for Mozart, and Sterbini, who was Rossini’s librettist, judiciously and deftly elided the objectionable political element.  “Le Nozze” is by far the more ingeniously constructed play of the two (though a trifle too involved for popular comprehension in the original language), but “Il Barbiere” has the advantage of freedom from the moral grossness which pollutes its companion.  For the unspoiled taste of the better class of opera patrons, there is a livelier as well as a lovelier charm in the story of Almaviva’s adventures while outwitting Dr. Bartolo and carrying off the winsome Rosina to be his countess than in the depiction of his amatory intrigues after marriage.  In fact, there is something especially repellent in the Count’s lustful pursuit of the bride of the man to whose intellectual resourcefulness he owed the successful outcome of his own wooing.

It is, indeed, a fortunate thing for Mozart’s music that so few opera-goers understand Italian nowadays.  The play is a moral blister, and the less intelligible it is made by excisions in its dialogue, the better, in one respect, for the virtuous sensibilities of its auditors.  One point which can be sacrificed without detriment to the music and at only a trifling cost to the comedy (even when it is looked upon from the viewpoint which prevailed in Europe at the period of its creation) is that which Beaumarchais relied on chiefly to add piquancy to the conduct of the Count.  Almaviva, we are given to understand, on his marriage with Rosina had voluntarily abandoned an ancient seignorial right, described by Susanna as “certe mezz’ ore che il diritto feudale,” but is desirous of reviving the practice in the case of the Countess’s bewitching maid on the eve of her marriage to his valet.  It is this discovery which induces Figaro to invent his scheme for expediting the wedding, and lends a touch of humor to the scene in which Figaro asks that he and his bride enjoy the first-fruits of the reform while the villagers lustily hymn the merits of their “virtuous” lord; but the too frank discussion of the subject with which the dialogue teems might easily be avoided.  The opera, like all the old works of the lyrical stage, is in sad need of intelligent revision and thorough study,