Although the plot of The Barber of Seville has been used many times by dramatists and composers, Pierre-Augustin Caron de Beaumarchais took a fresh approach to the story. The play, fast-moving and brisk, has all the necessary ingredients for a sentimental comedy: intrigue, wit, clear-cut characterizations, satire, and a well-defined plot. Indeed, the plot is more important than the actors themselves, even though Figaro, the barber, has become famous in the literature of all countries.
Beaumarchais’s The Barber of Seville displays wit, humor, and gaiety, and its structural ingenuity—the sheer fun of the piece—assures its immortality, just as in Gioacchino Antonio Rossini’s opera of the same name and Wolfgang Amadeus Mozart’s The Marriage of Figaro, which is based on Beaumarchais’s sequel to the play.
Probability and depth of character are sacrificed to the plot, but the superbly constructed plot is well worth the sacrifice. It is a masterpiece of ingenuity and invention. Bartholo, the antagonist, and the protagonists Rosine, the count, and Figaro are expert in their attempts to outwit one another.
In the best tradition of farce, particularly French farce, the action never seems to flag. Even the catching songs that seemingly interrupt the action are, in fact, organic parts of it. Beginning somewhat slowly in the first act, much of which is necessary exposition, the action gathers momentum,...
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