the opening chorus of
his "Aureliano," and that in turn from his "Ciro in Babilonia." The
subject of the effective trio, "Zitti, zitti," was taken from Haydn's
"Seasons," and the aria sung by the duenna Berta ("Il vechiotto cerca
moglie"), from a Russian melody he had heard a lady sing in Rome and
introduced for her sake. For the music-lesson scene Rossini wrote a
trio which has been lost; and thus an opportunity has been given
Rosinas to interpolate what they please.

The scene of the opera is laid at Seville, Spain. Count Almaviva has
fallen in love with Rosina, the ward of Dr. Bartolo, with whom she
resides, and who wishes to marry her himself. After serenading his
mistress, who knows him only by the name of Count Lindoro, he prevails
upon Figaro, the factotum of the place, to bring about an interview
with her. In spite of her guardian's watchfulness, as well as that of
Don Basilio, her music-teacher, who is helping Bartolo in his schemes,
she informs the Count by letter that she returns his passion. With
Figaro's help he succeeds in gaining admission to the house disguised
as a drunken dragoon, but this stratagem is foiled by the entrance of
the guard, who arrest him. A second time he secures admission,
disguised as a music-teacher, and pretending that he has been sent by
Don Basilio, who is ill, to take his place. To get into Bartolo's
confidence he produces Rosina's letter to himself, and promises to
persuade her that the letter has been given him by a mistress of the
Count, and thus break off the connection between the two. By this
means he secures the desired interview, and an elopement and private
marriage are planned. In the midst of the arrangements, however, Don
Basilio puts in an appearance, and the disconcerted lover makes good
his escape. Meanwhile Bartolo, who has Rosina's letter, succeeds in
arousing the jealousy of his ward with it, who thereupon discloses the
proposed elopement and promises to marry her guardian. At the time set
for the elopement the Count and Figaro appear. A reconciliation is
easily effected, a notary is at hand, and they are married just as
Bartolo makes his appearance with officers to arrest the Count. Mutual
explanations occur, however, and all ends happily.

The first act opens after a short chorus, with the serenade, "Ecco
ridente in cielo," the most beautiful song in the opera. It begins
with a sweet and expressive largo and concludes with a florid allegro,
and is followed b