History Theatre / TheBarberOfSeville

* RecycledSoundtrack: The overture was not written for the opera, but for Rossini's ''[[http://en.wikipedia.org/wiki/Aureliano_in_Palmira Aureliano in Palmira]]''. He then used it for an opera about Queen Elizabeth before it found a permanent home in ''The Barber of Seville''.

* RecycledSoundtrack: Quite a lot of the overture is shared with Rossini's earlier ''[[http://en.wikipedia.org/wiki/Aureliano_in_Palmira Aureliano in Palmira]]''.

You've probably heard of this opera, and that's because ''The Barber of Seville'' is one of the most popular productions of the genre. As observed by characters in the {{manga}} ''Manga/EmmaAVictorianRomance'', nobody dies in this show; it also offers a lot of opportunities for humor which even modern audiences would get. And we can hardly forget the WesternAnimation/LooneyTunes homage stuff ("WesternAnimation/RabbitOfSeville", anyone?). And WesternAnimation/WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.

* TheBarber: Figaro.

** [[https://www.youtube.com/watch?v=rmTcmBn56Jk "Largo al factotum"]] by Figaro is also pretty fast.

* SerenadeYourLover

The {{Opera}} we're talking about is the version composed by Music/GioachinoRossini, and it isn't the only work by this name. Pierre Beaumarchais wrote a play, ''Le Barbier de Seville'', which was first performed in 1775; it has been adapted a good four times, but Rossini's work gets the AdaptationDisplacement Award by virtue of popularity. Its "sequel," ''Theatre/TheMarriageOfFigaro'', was actually written some 30 years earlier by some Austrian kid named Music/WolfgangAmadeusMozart. The third play in the Beaumarchais's trilogy, ''La Mère coupable'' ("The Guilty Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its GenreShift to DarkerAndEdgier drama.

You've probably heard of this opera, and that's because ''The Barber of Seville'' is one of the most popular productions of the genre. As observed by characters in the {{manga}} ''Manga/VictorianRomanceEmma'', nobody dies in this show; it also offers a lot of opportunities for humor which even modern audiences would get. And we can hardly forget the WesternAnimation/LooneyTunes homage stuff ("WesternAnimation/RabbitOfSeville", anyone?). And WesternAnimation/WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.

* MusicOfNote: "Largo al factotum" is one of the most famous of all {{opera}} arias: "Figaro, Figaro, Figarofigarofigarofigaro!" The overture is very widely heard as well.

* IAmSong: ''Largo al factotum'', of course
* IHaveYouNowMyPretty: Dr. Bartolo's overall plan

** [[https://www.youtube.com/watch?v=rmTcmBn56Jk "Largo al factorum"]] by Figaro is also pretty fast.

* WifeHusbandry: A classic example of the trope, as Bartolo want to marry his ward, Rosina.

* WifeHusbandry: Anclassic example of the trope, as Bartolo want to marry his ward, Rosina.

* ScrewTheRulesIHaveConnections: Count Almaviva is friends with the commanding officer of the troops stationed in Seville, which stands him in good stead when Bartolo calls in a patrol to have him arrested.

* WifeHusbandry

* BribingYourWayToVictory: Count Almaviva first hires Figaro to help him, later he bribes Basilio twice -- first to go along with Figaro's "diagnosis" that he has yellow fever, then to stand as a witness at the improvised wedding -- and finally he gets Bartolo to accept his defeat by letting him keep Rosina's dowry.

The {{Opera}} we're talking about is the version composed by GioachinoRossini, and it isn't the only work by this name. Pierre Beaumarchais wrote a play, ''Le Barbier de Seville'', which was first performed in 1775; it has been adapted a good four times, but Rossini's work gets the AdaptationDisplacement Award by virtue of popularity. Its "sequel," ''Theatre/TheMarriageOfFigaro'', was actually written some 30 years earlier by some Austrian kid named Music/WolfgangAmadeusMozart. The third play in the Beaumarchais's trilogy, ''La Mère coupable'' ("The Guilty Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its GenreShift to DarkerAndEdgier drama.

You've probably heard of this opera, and that's because ''The Barber of Seville'' is one of the most popular productions of the genre. As observed by characters in the {{manga}} ''Manga/VictorianRomanceEmma'', nobody dies in this show; it also offers a lot of opportunities for humor which even modern audiences would get. And we can hardly forget the WesternAnimation/LooneyTunes homage stuff ("WesternAnimation/RabbitOfSeville", anyone?). And WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.

The {{Opera}} we're talking about is the version composed by GioachinoRossini, and it isn't the only work by this name. Pierre Beaumarchais wrote a play, ''Le Barbier de Seville'', which was first performed in 1775; it has been adapted a good four times, but Rossini's work gets the AdaptationDisplacement Award by virtue of popularity. Its "sequel," ''Theatre/TheMarriageOfFigaro'', was actually written some 30 years earlier by some Austrian kid named Creator/WolfgangAmadeusMozart. The third play in the Beaumarchais's trilogy, ''La Mère coupable'' ("The Guilty Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its GenreShift to DarkerAndEdgier drama.

* TroubledProduction: The 1816 premiere became legend for performance in which nearly everything that could go wrong went wrong - for instance the actor playing Basilio fell on his face hand had to sing his aria while trying to staunch his bleeding nose with a handkerchief - and there were boos and catcalls from an audience that contained many fans of Giovanni Paisiello, composer of an earlier operatic "Barber of Seville". Things got better starting with the second performance, though.

* MaliciousMisnaming: While pretending to be a drunken soldier, the Count repeatedly mangles Bartolo's name, including "Balordo" (idiot), "Bertoldo" (blockhead) and "Barbaro" (barbarian).

* SignatureLine: Though they may not always get it right, the famous rapid-fire "Figaro figarofigarofigaro" bit from "Figaro's Aria" is one of the more well-known opera cliches.

* AccidentalMisnaming: While pretending to be a drunken soldier, the Count repeatedly mangles Bartolo's name, including "Balordo" (idiot), "Bertoldo" (blockhead) and "Barbaro" (barbarian).

* BribingYourWayToVictory: Count Almaviva first hires Figaro to help him, later he bribes Basilio twice -- first to go along with Figaro's "diagnosis" that he has yellow fever, then to stand as a witness at the improvised wedding -- and finally he gets Bartolo to accept his defeat by allowing him to keep Rosina's dowry.

* TitleDrop: Of the secondary title. At the very end of the opera comments about Bartolo's "useless precaution".

The {{Opera}} we're talking about is the version composed by GioachinoRossini, and it isn't the only work by this name. Pierre Beaumarchais wrote a play, ''Le Barbier de Seville'', which was first performed in 1775; it has been adapted a good four times, but Rossini's work gets the AdaptationDisplacement Award by virtue of popularity. Its "sequel," ''Theatre/TheMarriageOfFigaro'', was actually written some 30 years earlier by some Austrian kid named Creator/WolfgangAmadeusMozart. The third play in the Beaumarchais's trilogy, ''La Mere coupable'' ("The Guilty Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its GenreShift to DarkerAndEdgier drama.

* AccidentalMisnaming: The Count repeatedly mangles Bartolo's name, including "Balordo" (idiot), "Bertoldo" (blockhead) and "Barbaro" (barbarian).

* TheBarber: Figaro

* TheTrickster: Figaro
* UnsympatheticComedyProtagonist: Bartolo