y a chorus in which the serenaders are dismissed. In
the second scene Figaro enters, and after some brief recitatives sings
the celebrated buffo aria, "Largo al factotum," in which he gives an
account of his numerous avocations. The aria is full of life and
gayety, and wonderfully adapted to the style of the mercurial Figaro.

A light and lively duet between Figaro and the Count, closing with the
sprightly melody, "Ah! che d'amore," leads up to the chamber aria of
Rosina, so well known on the concert-stage, "Una voce poco fa," which
is not only very expressive and of great compass, but is remarkably
rich in ornamentation. A short dialogue in recitative then occurs
between Bartolo and Basilio, in which they plot to circumvent Rosina
by calumny, which gives occasion for the Calumny aria, as it is
generally known ("La calunnia"), a very sonorous bass solo, sung by
Basilio. Another dialogue follows between Figaro and Rosina, leading
to the florid duet, "E il maestro io faccio." A third dialogue follows
between Rosina and Bartolo, ending in a bass aria ("Non piu tacete"),
very similar in its general style to the Calumny song, but usually
omitted in performances. In the tenth scene the Count arrives
disguised as the drunken soldier, and the finale begins. It is
composed of three scenes very ingeniously arranged, and full of
glittering dialogue and very melodious passages.

The second act opens with a soliloquy by Bartolo ("Ma redi il mio
destino"), in which he gives vent to his suspicions. It is interrupted
at last by a duet with the Count, in which the two characters are
strikingly set off by the music. The music-lesson scene follows, in
which the artist personating Rosina is given an opportunity for
interpolation. In the next scene occurs a dialogue quintet, which is
followed by a long aria ("Sempre gridi") by the duenna Bertha, called
by the Italians the "Aria de Sorbetto," because the people used to eat
ices while it was sung; reminding one of the great aria from
"Tancredi," "Di tanti palpiti," which they called the "aria dei
rizzi," because Rossini composed it while cooking his rice. In the
eighth scene, after a long recitative, an instrumental prelude occurs,
representing a stormy night, followed by a recitative in which the
Count reveals himself, leading up to a florid trio, and this in turn
to the elegant terzetto, "Zitti, zitti." A bravura and finale of light
and graceful melody close the opera.

SEMIRAMIDE

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