Opera in Context

“Comedy is much more difficult than tragedy and a much better training, I think. It’s much easier to make people cry than to make them laugh.” —Vivien Leigh

In opera, it is the dramatic works that form the core of the traditional canon. According to the website Operabase, eight of the ten most performed operas in the 2017/2018 season were dramatic tragedies. The other two are Mozart’s The Marriage of Figaro and Rossini’s The Barber of Seville—both comedies based on the work of French playwright Beaumarchais. Despite Rossini’s extensive contribution to the art form, it is The Barber of Seville that stands out as his most beloved work, even among his peers. After seeing the opera in Vienna, Beethoven reportedly told Rossini, “Above all, make lots of Barber”.

Why has this opera stood the test of time to remain one of the most popular operas in the world? For contemporary audiences, the comedic structure of the opera is familiar. It is filled with character and action tropes that are a part of our general consciousness. Love at first site (Almaviva), the crafty barber who is the source of local gossip (Figaro), and keeping one’s love captive (Bartolo) are all tropes that can be found in most modern-day comedies. In the opera, familiar scenes almost tumble over each other. In the first act alone there are hidden identities, pretend inebriation, love letters, and a police raid!

Another important aspect of the comedy can be found in Rossini’s score. The most well-known aria from the opera, “Largo al factotum”, is an example of what is known as the Rossini crescendo. Short, crisply articulated phrases are repeated as the music becomes louder and faster. The music is brilliant and energetic, matching the pace of comedy onstage. The opera is also structured in a way that creates space for the music to adapt to the unique skills and talents of each performer. For example, the scene with Rosina’s voice lesson gave 19th century singers an opportunity to perform one of their most famous arias with a nod and wink to the audience. At a performance in Berlin, American soprano Minnie Ahuk decided to perform “Swanee River” much to the delight of the German audience. Again, this inclusion of material well known to the audience is something that is seen in modern-day comedy in both television and film. One of the most compelling examples of this in the 20th century is Robin Williams’ iconic performance of the Genie in Disney’s Aladdin (1992) that featured his unique stream-of-consciousness comedy as central to the character.

Ultimately, a successful Barber of Seville relies upon excellent musicianship, strong comedic timing, and a brave cast! When compared to modern-day musical comedies like The Book of Mormon and Kinky Boots, The Barber of Seville remains a hallmark of comedic excellence.