Although the play and opera of “The Barber Of Seville” are similar in nearly all aspects, there are a few characteristics that differentiate the two versions.  One difference between the two involves the significance of the characters. Throughout the play the Count and Rosine are acknowledged as the main characters as they struggle to overcome Dr. Bartholo in their quest to get married. Meanwhile, in the opera, Rosine and the Count’s importance in the story are overshadowed by the actions of Figaro. Through his singing and clever plans to trick Dr. Bartolo, Figaro acts as the sole controller of fate. He is able to deceive Dr. Bartolo and gives the Count several opportunities to speak with Rosine and ultimately ask for her hand in marriage.

Another distinguishable modification between the two versions is that the opera puts a greater emphasis on the impact of love, while the play highlights the comic aspects of the story. In the first act of the opera, the Count expresses his love for Rosina by hiring a band of musicians to serenade her. This humorless scene foreshadows the significance of love in the opera. On the other hand, in the play, the Count starts off peering into Dr. Bartholo’s house, dressed as a poor university student, hoping to catch a slight glimpse of Rosine. This scene leaves an amusing image in the viewers’ mind while exposing the humorous side of the play.