History Theatre / TheBarberOfSeville

* TheIngenue: Rosina
** Highly debatable. Rosina is actually NotSoDifferent from Figaro - he even goes as far as admitting that she's a master of trickery. Her only limiting factor, unfortunately, is the fact that as a woman, she has to abide by the standards of the time. And, of course, that if she could get out of her predicament herself, there wouldn't be any opera.

* BeamMeUpScotty: ''The Barber of Seville'' is the source of the "Figaro" aria, not ''Theatre/TheMarriageOfFigaro''.
* TheCastShowoff: Whoever plays Rosina traditionally extemporizes during the aria "Una voce poco fa". See [[http://www.youtube.com/watch?v=SmEFfeYRWeI Beverly Sills's version]] for an example.
** She also has the extended 'singing lesson scene' where the character does this with very little plot relevance at some length, and is more or less expected to showboat to the best of her ability. Some singers have been reported to stretch it out for at least 20 minutes. Others accompany themselves on the piano or other instrument.

* TricksterArchetype: Figaro

-->-- [[LooneyTunes Bugs Bunny]]'s improvised English lyrics, ''WesternAnimation/RabbitOfSeville''

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 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.

-->--[[LooneyTunes Bugs Bunny]]'s improvised English lyrics, ''WesternAnimation/RabbitOfSeville''

* AccidentalMisnaming: The Count repeatedly mangles Bartolo's name.

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. And WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.

-->--[[LooneyTunes Bugs Bunny]]'s improvised English lyrics, ''TheRabbitOfSeville''

* MyNameIsNotDurwood: The Count repeatedly mangles Bartolo's name.

* EvilSoundsDeep: Bartolo and Basilio

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 was 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 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.

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 LooneyTunes homage stuff. And WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.

* BeamMeUpScotty: ''The Barber of Seville'' is the source of the "Figaro" aria, not ''TheMarriageOfFigaro''.

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 was 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 WolfgangAmadeusMozart. The third play in the Beaumarchais's trilogy, ''La Mere coupable'' ("The Culpable Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its GenreShift to DarkerAndEdgier drama.

''The Barber of Seville'' revolves around a noble, Count Almaviva, who has a serious case of LoveAtFirstSight with a girl named Rosina, currently living as a ward to Dr. Bartolo. The Count, who wants Rosina to love ''him'', not his title or money, has been disguising himself as a music student named Lindoro, but the two have not even had an occasion to speak yet. Help enters in the form of Figaro, the Count's former servant and the titular Barber of Seville, who has Dr. Bartolo's trust and offers his services to the Count - for a fee, of course. This being a comedy, HilarityEnsues.

You've probably heard of this opera, despite how little exposure the average Troper gets to opera as a whole; 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 LooneyTunes homage stuff. And WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.

The {{Opera}} we're talking about is the version composed by Gioachino Rossini, which isn't the only work by this name. Pierre Beaumarchais wrote a play, ''Le Barbier de Seville'', which was first performed in 1775; it was 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 WolfgangAmadeusMozart. The third play in the Beaumarchais's trilogy, ''La Mere coupable'' ("The Culpable Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its GenreShift to DarkerAndEdgier drama.

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

!!''The Barber Of Seville'' provides examples of the following tropes:

You've probably heard of this opera, despite how little exposure the average Troper gets to opera as a whole; that's because ''The Barber of Seville'' is one of the most popular productions of the genre. As observed by characters in the manga ''Emma'', nobody dies in this show, which is a big deal in Opera; it also offers a lot of opportunities for humor which even modern audiences would get. And we can hardly forget the LooneyTunes homage stuff. And WoodyWoodpecker's "WesternAnimation/TheBarberOfSeville" take on it as well.