Rossini's The Barber of Seville: Top 5 Musical Moments

(Make way for the factotum)

In his boastful opening number, Figaro introduces himself as Seville’s resident factotum—that is, a jack-of-all trades. In addition to shaving and haircutting, he explains that he also performs matchmaking and bloodletting (barbers at the time doubled as surgeons). With its sprightly 6/8 meter, this aria is evocative of the Southern Italian tarantella folk dance.

“Largo al factotum” performed by Sherrill Milnes, who played Figaro at HGO in 1969. 

(A voice a little while ago)

Rosina’s aria musically illustrates the two sides of her personality. In a charmingly naïve melody, she describes herself as sweet and obedient. However, on the word “ma”—“but”—the character of the vocal line suddenly changes. Rosina warns what happens if she’s crossed, executing viperish staccato attacks and feisty coloratura runs to show she’s not to be trifled with. 

 “Una voce poco fa” performed by Cecilia Bartoli, who played Rosina at HGO in 1993. 

(Calumny is a little breeze)

Don Basilio’s aria is a prime example of the “Rossini crescendo.” Also known as the “Rossini rocket,” this is a large-scale buildup in volume. Here, it represents the spread of calumny—that is, slander—which Basilio likens to a breeze growing into a storm. The bass’s vocal line is initially restrained, but it gradually gets higher and more active until the explosive climax.

“La calunnia è un venticello” performed by Paolo Montarsolo, who played Basilio at HGO in 1976 and 1983. 

(To a doctor of my sort)

In this number, Dr. Bartolo lets Rosina know that he’s onto her tricks. Halfway through, the tempo speeds up and the soloist launches into a frenzied burst of words sung in rapid succession with little room to insert a breath. Known as patter, this technique is typical of basso buffo roles like Bartolo, which require both comedic chops and perfect enunciation.  

“A un dottor della mia sorte” performed by Alessandro Corbelli, who will play Dr. Bartolo in HGO’s 2026 production.

(Resist no further)

Almaviva’s bravura showstopper, in which he proclaims Rosina his bride, is rarely heard. Composed for Spanish virtuoso Manuel García, the aria proved too difficult for subsequent tenors and was usually cut. (Although, Rossini did recycle one of the number’s themes for Angelina’s “Non più mesta” in Cinderella.) Jack Swanson, who will perform the aria in HGO’s production, is one of the few singers today who possess the stamina and flexibility needed to navigate its lengthy stretches of coloratura. 

“Cessa di più resistere” performed by Lawrence Brownlee, who played Count Almaviva at HGO in 2011.