Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. Aria: "A un dottor della mia sorte"; "To a doctor of my class". Count Almaviva, disguised as a soldier and pretending to be drunk, enters the house and demands to be quartered there. In fear of the drunken man, Berta the housekeeper rushes to Bartolo for protection. Bartolo tells the "soldier" that he Bartolo has an official exemption which excuses him from the requirement to quarter soldiers in his home.
Almaviva pretends to be too drunk and belligerent to understand, and dares Bartolo to brawl. 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 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. Bartolo and the Count argue loudly. Basilio enters; then Figaro, who warns that the noise of the argument is rousing the whole neighborhood.
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Finally, the noise attracts the attention of the Officer of the Watch and his troops, who crowd into the room. Bartolo demands that the Officer arrest the "drunken soldier". The Officer starts to do so, but Almaviva quietly reveals his true identity to the Officer, and he the Officer backs off and stands down. Bartolo and Basilio are astonished and mystified; Figaro laughs quietly at them. Finale: "Fredda ed immobile, come una statua"; "Cold and still, just like a statue". The confusion intensifies and causes everyone to suffer headaches and auditory hallucinations "Mi par d'esser con la testa in un'orrida fucina; dell'incudini sonore l'importuno strepitar.
Almaviva again appears at the doctor's house, this time disguised as a priest who is also a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter.
Una Voce Poco Fa VIDAL
He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his master. While Almaviva pretends to give Rosina her singing lesson, Figaro arrives to shave Bartolo. Bartolo demurs, but Figaro makes such a scene he agrees, but in order not to leave the supposed music master alone with Rosina, the doctor has Figaro shave him right there in the music room.
When Basilio suddenly appears, he is bribed by a full purse from Almaviva and persuaded to leave again, with much discussion of how ill he looks. Quintet: "Don Basilio! Figaro begins to shave Bartolo, but Bartolo overhears the lovers conspiring, and angrily drives everybody away. The scene returns to the location of act 1 with a grill looking out onto the square.
Bartolo orders Basilio to have the notary ready to marry him to Rosina that evening. He also explains his plot to come between the lovers. Basilio leaves and Rosina arrives. Bartolo shows Rosina the letter she wrote to "Lindoro", and persuades her that this is evidence that Lindoro is merely a flunky of Almaviva and is toying with her at Almaviva's behest.
Rosina believes him and agrees to marry him. During an instrumental interlude, the music creates a thunder storm to indicate the passage of time. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and accuses him of betraying her. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, who later turn out to be Basilio and the notary. However, when the Count, Rosina, and Figaro attempt to leave by way of the ladder, they discover it has been removed.
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Il Barbiere di Siviglia (The Barber of Seville)
For a great experience with MIDI files, we recommend the Notation Musician software - which shows you the score as you play the file! Thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the "book". In rare cases, the composer writes everything except the dance arrangements — music and libretto, as Lionel Bart did for Oliver!.
Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. There are the preliminary steps of selecting or suggesting a subject and developing a sketch of the action in the form of a scenario, as well as revisions that might come about when the work is in production, as with out-of-town tryouts for Broadway musicals, or changes made for a specific local audience. Since the late 19th century some opera composers have written music to prose or free verse libretti.
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Much of the recitatives of George Gershwin's opera Porgy and Bess , for instance, are DuBose and Dorothy Heyward's play Porgy set to music as written — in prose — with the lyrics of the arias, duets and choruses written in verse; the libretto of a musical, on the other hand, is always written in prose. The libretto of a musical, if the musical is adapted from a play, may borrow their source's original dialogue liberally — much as Oklahoma!
Barrie's dialogue; the musical Show Boat , different from the Edna Ferber novel from which it was adapted, uses some of Ferber's original dialogue, notably during the miscegenation scene. And Lionel Bart's Oliver! Uses chunks of dialogue from Charles Dickens's novel Oliver Twist , although it bills itself. The location, at the north end of the city, overlooked the park. Construction costs mounted to precipitous levels, changes were made in the design; the doors opened in January In its early years, the Park enjoyed little to no competition in New York City, it made a profit for its owners or managers, prompting them to sell it in Under the management of Stephen Price and Edmund Simpson in the s and s, the Park enjoyed its most successful period.
Price and Simpson initiated a star system by importing English talent and providing the theatre a veneer of upper-class respectability. Rivals such as the Chatham Garden and Bowery theatres appeared in the s, the Park had to adapt to survive.
Blackface acts and melodrama squeezed Italian opera and English drama out of their preferential positions. The theatre maintained its upscale image until it burned down in In the late 18th century, New York's only playhouse was the decaying and low-brow John Street Theatre. Tired of attending such an establishment, a group of wealthy New Yorkers began planning the construction of a new playhouse in To plan the structure, the owners hired celebrated architect Marc Isambard Brunel, a Frenchman who had fled to New York to avoid the Reign of Terror and was the city's engineer.
As a cost-saving measure, Brunel's exterior design for the building was not implemented; the resulting three-story structure measured 80 feet wide by feet deep and was made of plain dressed stone. The overall effect was an air of austerity. The interiors, on the other hand, were quite lavish; the building followed the traditional European style of placing a gallery over three tiers of boxes, which overlooked the U-shaped pit.
The section of Manhattan where the theatre stood was not stylish: the New Theatre, as it was called, was neighbor to Bridewell Prison , a tent city's worth of squatters , the local poorhouse. Lewis Hallam , Jr. They hired remnants of the Colonial Old American Company to form the nucleus of the theatre's in-house troupe and thus give the establishment the sheen of tradition and American culture. Meanwhile, the men quarreled, construction continued languorously; the theatre held its first performance on January 29, , despite still being under construction. Allston Brown , hundreds of potential patrons had to be turned away.
New York newspapers praised the New Theatre: On Monday evening last, the New Theatre was opened to the most overflowing house, witnessed in this city. Though the Commissioners have been constrained to open it in an unfinished state, it still gave high satisfaction; the essential requisites of hearing and seeing have been attained. We do not remember to have been in any Theatre where the view of the stage is so complete from all parts of the house, or where the actors are heard with such distinctness; the house is made to contain about 2, persons.
The audience part, though wanting in those brilliant decorations which the artists have designed for it, yet exhibited a neatness and simplicity which were agreeable; the stage was everything. The scenery was executed in a most masterly style; the extensiveness of the scale upon which the scenes are executed, the correctness of the designs, the elegance of the painting, presented the most beautiful views which the imagination can conceive.