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See The voice types given here refer to the original cast as listed in a 2010 program book from Listed as baritone by Richard Osborne 1992, p. 311; Charles Osborne 1994, p. 52; Gosset & Brauner 2001, p. 776; and Kobbé 1997, p. 310.Also listed as soprano by Gossett & Brauner 2001, p. 776; Charles Osborne 1994, p. 52; and Kobbé 1997, p. 667. The opera concludes with an anthem to love ("Amor e fede eterna, si vegga in noi regnar! To gain Bartolo’s trust, Don Alonso tells him he has intercepted a note from Lindoro to Rosina, and says that Lindoro is a servant of Count Almaviva who has dishonorable intentions towards Rosina. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. (Duet: "Dunque io son...tu non m'inganni? (Quintet: "Don Basilio! "Once after Patti had sung a particularly florid rendition of the opera's legitimate aria, 'Una voce poco fa', Rossini is reported to have asked her: "Very nice, my dear, and who wrote the piece you have just performed? "; "My head seems to be in a fiery forge: the sound of the anvils deafens the ear.") In fear of the drunken man, Berta the housekeeper rushes to Bartolo for protection. Aurelia Dobrovolskaya (lyric coloratura soprano), 1914Weinstock 1968, p. 54; Oborne, Charles 1994, p. 57.The aria is included as an appendix to the critical edition of the opera edited by Patricia Brauner. Bartolo barges in, accompanied by the Officer and the men of the watch, but too late; the marriage is already complete. Fu Giovanni Paisiello nel 1782 a mettere in scena per primo l’opera riscuotendo un forte successo. – Cosa veggo! None of the added numbers are in the 1953 Ricordi reprint, which divides two acts into two halves each: "Atto primo-parte prima...Atto secondo-parte quarta" Two people are heard approaching the front door. – What do I see?"). Finally, the noise attracts the attention of the Officer of the Watch and his troops, who crowd into the room. Almaviva and Figaro climb up a ladder to the balcony and enter Rosina's room through a window. As she is leaving the room, Bartolo enters with the music teacher Basilio. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, "La calunnia è un venticello" – "Calumny is a little breeze" – is almost always sung a When the two have gone, Rosina and Figaro enter. Not wanting to leave Rosina alone with the singing teacher, Bartolo insists Figaro shave him right there in the music room. Almaviva again appears at the doctor's house, this time disguised as Don Alonso, a priest and singing tutor who is substituting for the supposedly ailing Basilio. The scene returns to the location of Act 1 with a grille looking out onto the square. The befuddled Bartolo is pacified by being allowed to retain Rosina's dowry. Luigi Zamboni, for whom Rossini wrote the role of Figaro had urged Rossini and Francesco Sforza-Cesarini, the cash-strapped impresario of the Teatro Argentina, to engage his sister-in-law, Elisabetta Gafforini, as Rosina. While Bartolo searches his cluttered desk for the official document which would prove his exemption, Almaviva whispers to Rosina that he is Lindoro in disguise, and passes a love-letter to her. Bartolo overhears the lovers conspiring, and angrily drives everybody away. Bartolo suspiciously demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Rossini's opera recounts the events of the first of the Other operas based on the first play were composed by Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Musicologists believe that, true to form, the music for The opera was first performed in England on 10 March 1818 at the The singing lesson in act 2 has often been turned into "a show-stopping cabaret.