SYNOPSIS

CD1

[1] Sinfonia

Act One

[2] It is dawn in Seville. The Count of Almaviva has prepared a serenade for the beautiful Rosina, ward of Dr Bartolo. The musicians quietly take their places, and [3] the Count sings beneath her window. When Rosina fails to appear, he pays the musicians, who are so delighted by his generosity that they make an enormous racket before departing. [5] The Count remains in the square, hoping to catch another glimpse of Rosina, but hides when he hears someone coming. [6] It is Figaro, the barber of Seville. He loves his profession, which opens every door in the city to him, allowing him to participate in amorous intrigues. [7] He sees and recognises the Count, but the latter wants his real name hidden, for he has secretly followed Rosina here. Figaro knows all about her: she is the ward of Dr Bartolo, not his daughter, and the old man wants to marry her himself. At that moment, Bartolo appears, locks Rosina in, and hurries off to expedite the wedding.
The Count, who does not want Rosina to marry him for wealth and a title, pretends he is a poor student, Lindoro. As Rosina starts to respond, the shutters are firmly closed. [10] Promised gold for his assistance, Figaro concocts a plan. The Count must enter Bartolo’s house disguised as a soldier, and claim lodgings there. If he also seems drunk, Rosina’s guardian will not be suspicious. They resolve to put the plan into action.
[12] Inside Bartolo’s house Rosina, alone, has just finished a letter to Lindoro.

CD 2

[1] Figaro appears, but before they can talk Bartolo returns. Don Basilio, music-master and friend of Bartolo, brings word that the Count of Almaviva, Rosina’s unknown lover, has arrived in Seville. [2] He suggests they defame the Count by spreading malicious rumours about him. [3] Bartolo prefers to marry Rosina that day, and they go off to draft the wedding contract.
Figaro, who has overheard the conversation, informs Rosina. Assuring him she can handle the situation, Rosina inquires about the handsome youth she has just seen with Figaro. He tells her it was a poor cousin who has one grave defect: he is madly in love with Rosina. [4] Though feigning surprise when Figaro suggests she write to Lindoro, Rosina immediately produces her finished letter. He goes off to deliver it.
[5] The suspicious Bartolo accuses Rosina of having written to her lover; there is ink on her finger, a sheet of paper is missing, and the pen has been used. [6] He threatens in the future to keep her locked up. [8]-[10] The Count, disguised as a drunken soldier, begins beating on the door. He tells Bartolo he seeks lodging. When Rosina appears, the Count manages to reveal that he is Lindoro. Bartolo produces an order exempting him from having to lodge soldiers, but the Count sends it flying. In the uproar, he slips Rosina a letter, which she promptly interchanges with a laundry list to the exasperation of Bartolo.
As tempers mount, the servant Berta and Don Basilio enter. Figaro soon reappears, reporting that their noise can be heard throughout the city. At that moment, soldiers knock at the door. All the characters try to explain the situation, creating even more chaos. The officer arrests the Count, who produces a document and is promptly set free. Bartolo is struck dumb, then explodes in anger as everyone expresses total confusion at the events of the day.

Act Two

CD 3

[1] Bartolo fears the soldier may have been an emissary of Count Almaviva. There is another knock at the door. It is the Count, now disguised as a music-master, “Don Alonso”. [3] He claims to be a student of Don Basilio, sent because his master is ill. To gain Bartolo’s confidence, he tells him that he has stolen from Count Almaviva a note written by Rosina. With this note as evidence, he will try to convince Rosina that the Count merely plays with her affections. Tricked, Bartolo goes to fetch his ward for her lesson. [4] Rosina performs a “Rondo” from The Useless Precaution. As Bartolo dozes, she and Lindoro express their mutual affection. [5] He awakens, bored by this “contemporary music”, and sings an example of music “in my time”.
[7] Figaro comes to shave Bartolo. Not wanting to leave Don Alonso and Figaro alone with Rosina, Bartolo sends the barber to get towels and shaving materials. Figaro grabs the opportunity to obtain the balcony key, then drops plates and glasses, forcing Bartolo to come after him. Rosina and Lindoro again swear their love.
[8] As Figaro begins to shave Bartolo, Don Basilio arrives for Rosina’s lesson. By providing Basilio with an ample purse and pretending he has scarlet fever, they persuade him to withdraw. Figaro continues to shave Bartolo, while Lindoro and Rosina make plans. Using the balcony key, Lindoro and Figaro will steal her away at midnight. Bartolo overhears the Count speak of his disguise and breaks into a rage. The scene ends in utter confusion.
[11] Berta, alone, comments on the foolishness of old men who would marry young women. [12] Basilio admits to Bartolo he does not know “Don Alonso”. Perhaps it was the Count himself. Bartolo, wanting to take no chances, instructs Basilio to fetch the notary immediately so he can be married that night. To trick Rosina, Bartolo produces her letter to Lindoro and tells her he obtained it from Count Almaviva.
[13] A storm rages outside. [14] As Figaro and the Count enter from the balcony, Rosina accuses her Lindoro of intending to sell her to that vile Count Almaviva. The Count throws himself at her feet and admits his real identity. [15] The lovers express their joy, while Figaro urges them to escape. [16] By the time they are ready to depart, their ladder has disappeared. Basilio enters with the notary. Figaro seizes the opportunity and has him marry the Count and Rosina. Basilio, offered the choice between a valuable ring and two bullets in the head, agrees to be a witness. Bartolo arrives with soldiers, but he is too late. Count Almaviva reveals his identity and announces that Rosina is his wife. [18]-[19] With no choice remaining, Bartolo blesses the marriage. [20] All wish the happy couple love and eternal fidelity.

Philip Gossett