Although the play version and the opera version of “The Barber of Seville” relatively hold the same plots, I can still spot some differences in each version.

To start it off, it is apparent that the biggest difference between the versions is the importance of Figaro. In the play Figaro is introduced in the beginning as “the barber of Seville,” the title of the play, which leads us to be mistaken that he would play a central role, which is not the case since as the play goes on, the Count and Rosina take the center stage as Figaro circumvents as a consultant and comic helper. Yet in the opera version, Figaro catalyzes virtually all the actions that take place in the plot. He is, to term it artistically, Fate in “The Barber of Seville,” who is constantly making impressive and profound musical performance just like on the video that Prof. Tenneriello had posted.

Another huge difference is how the Count presents himself in the opera. In the play version I view him as a discreet and somewhat passive personality that constantly seeks help from other (Figaro) to get his Rosina. He is more refined, charming and suave, yet more timid to take actions. On the other hand, opera’s Count is more explosive. In the beginning scene he has a band to back up his courage romancing Rosina. In another scene, instead of discreetly putting money into Bazile’s pocket, opera’s Count makes death threat with his pistol cocking on Bazile’s side.

These differences can be explained by the nature of the form in which “The Barber of Seville” is presented. In contrast to theater, opera holds more musical and dramatic performances in its nature, and singing tends to escalate every actions that are featured, thus explains Figaro’s central role and makes the Count a firebrand in the opera.