Talk:The Barber of Seville

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Archive 1 - 2006-2088 discussions
Archive 2 - 2009-2010 discussions

Deterioration?

Like a lot of articles on popular operas, this text seems to be deteriorating. I've tried to fix a few things but how can this trend be prevented? --Klein zach 00:10, 7 January 2010 (UTC)[reply]

Ambrogio

Ambrogio is denoted as bass in the libretto, and he has the following five lines in scene 11 of act 1: "Ah! che comanda?", "Ah, ah!", "Ah, ah! che sonno!", "Ah!" (2x); source: both librettos mentioned in the article (I didn't feel like downloading the whole vocal score from IMSLP (~20MB). If someone corrects Ambrogio's voice type, it might be worth including the link to the score at IMSLP under "External links": {{IMSLP2|work=Il Barbiere di Siviglia (Rossini, Gioacchino)|cname=''The Barber of Seville''}} which gives The Barber of Seville: Scores at the International Music Score Library Project. -- Michael Bednarek (talk) 11:10, 7 January 2010 (UTC)[reply]

Who is Berta?

I'm a bit skeptical of this edit by a now inactive editor, but Berta's identity is a mystery to me. Sparafucil (talk) 21:22, 4 October 2010 (UTC)[reply]

She's one of Bartolo's servants and that's it. Trying to equate her with Marcellina in Figaro means getting mixed up with Beaumarchais and Da Ponte, rather than just taking Sterbini's libretto as is. I'd remove "Marcellina" from the table of roles. --GuillaumeTell 21:48, 4 October 2010 (UTC)[reply]

I've removed it, for the reasons cited by GuillaumeTell. Voceditenore (talk) 23:14, 4 October 2010 (UTC)[reply]

Original Overture ?

I have read that the first night overture was different to the one now performed.Graham1973 (talk) 11:50, 27 July 2013 (UTC)[reply]

Yes, according to Richard Osborne in New Grove Opera, after the initial performance, Rossini sanctioned the introduction of the now famous overture, originally written for his Aureliano in Palmira. --Robert.Allen (talk) 08:46, 29 April 2014 (UTC)[reply]

"Composition History"?

The section titled "Composition History" says very little about the circumstances leading up to the premiere. — Preceding unsigned comment added by Josephejones (talk • contribs) 11:40, 17 March 2016 (UTC)[reply]

Surreal Slow-motion?

I attended the Grand Rapids Opera production of Barber of Seville last night and was a little confused as to the slow-motion (fight?) sequence at the end of Act 1. I know every production reinterprets the work slightly differently but has this always been part of the opera and if so what is happening? Act 1 ended with the cast laughing at the audience as the curtain came down. If someone with a better understanding of the plot could add a sentence or two just explaining what is happening that would be wonderful. Cheers! Xenomorph erotica (talk) 13:41, 14 May 2017 (UTC)[reply]

What kind of "doctor" is Bartolo?

Is "Doctor" Bartolo really a medical doctor (physician)? In The Marriage of Figaro, he's a lawyer, a practicing attorney, in fact--he officially represents Marcellina in court when she sues to force Figaro to marry her ("Io da lei scelto avvocato, vengo a far le sue difese, le legittime pretese, io qui vengo a palesar!") Lawyers were usually called "Doctor" at the time (like, for instance, Doctor Blind in Die Fledermaus).

Can anyone out there in the Wikiverse say authoritatively what "Doctor" Bartolo's profession really is? Thanks. HandsomeMrToad (talk) 06:01, 30 June 2017 (UTC)[reply]

In Austria, almost everybody used to be called Dr. (Wann's nix san, san's a Dr.), - seems more a title than a profession. No idea about Spain/Italy then. --Gerda Arendt (talk) 14:39, 30 May 2020 (UTC)[reply]

This libretto lists Bartolo as Dottore in Medicina Tutore di Rosina. -- Michael Bednarek (talk) 01:35, 31 May 2020 (UTC)[reply]

non mention at all of Looney tunes

Am I blind or how is it possible there is no mention of the infamous very noteworthy episode (Rabbit of Seville) of Looney Tunes where Bugs Bunny and Elmer Fudd perform an excerpt of Barber of Seville? I mean a mere mention is noteworthy and doesnt pull focus off of the main articles actual topic, just my thoughts, I'm sure this has been brought up before, thats why I havent incorporated it in yet, wanted to see consensus.Eruditess (talk) 19:13, 29 May 2020 (UTC)[reply]

This seems to have been quite a slip-up. As long as there is a varifiable, reliable source, it is not a problem with me. --Robert.Allen (talk) 19:59, 29 May 2020 (UTC)[reply]

The Rabbit of Seville was added on 18 November 2017, but because it was unsourced and accompanied by an utterly non-notable (and malformed) entry, it was swiftly removed (by me). Since then, it was quiet on that front. Earlier, there was a similarly flawed addition in August 2012 which was removed on the same day, and a large unsourced section "In popular culture" was removed in February 2010. I'm not sure there is a consensus to to include a WP:IPC section in this article. I wouldn't support it. -- Michael Bednarek (talk) 06:00, 30 May 2020 (UTC)[reply]

Neither would I.Smeat75 (talk) 13:36, 30 May 2020 (UTC)[reply]

File:Alexandre Fragonard - Scène de L'orage (Barbier de Séville).jpg scheduled for POTD

Hello! This is to let editors know that the featured picture File:Alexandre Fragonard - Scène de L'orage (Barbier de Séville).jpg, which is used in this article, has been selected as the English Wikipedia's picture of the day (POTD) for February 18, 2021. A preview of the POTD is displayed below and can be edited at Template:POTD/2021-02-18. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! Cwmhiraeth (talk) 10:44, 27 January 2021 (UTC)[reply]

The Barber of Seville is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The plot revolves around the clever and enterprising character Figaro, the titular barber. This 1830 lithograph by Alexandre-Évariste Fragonard depicts the storm scene near the end of the opera's second act.

Lithograph credit: Alexandre-Évariste Fragonard; restored by Adam Cuerden

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