The play and opera versions of “The Barber of Seville,” essentially accomplished the same goals in the plot, but the opera was more lively and entertaining.  One thing that made it so, was the group musicals throughout the opera.  Instead of having one person singing the entire time, the group sang together.  This made it more pleasing since there were different voices, like the tenors, sopranos, bass, and baritones.

When reading the play, I was confused as to why the title was “ The Barber of Seville.”  The reason being that the barber, Figaro, seemed to be a supporting cast to the love trio that the play focuses on.  However, in the opera, Figaro runs the show.  He even admits that he “runs the house” of Dr. Bartolo since he performs multiple duties of a “barber, surgeon, botanist, apothecary, [and] veterinarian.”  He also seems to create the bond between the Count and Rosina.  He coaches the Count and tells him what to do,  while he entices Rosina with the temptations of a lover.  From the opera, I understand why the title is “The Barber of Seville,” because without Figaro, there would be no story.

Towards the end of the opera, the change from Dr. Bartolo bribing the notary to threating him with a gun was a nice touch.  It showed the corner that Bartolo felt he was backed into and the only way he could get out was by drastic actions.  By bribing the notary he was in control, but having the gun made him seem more desperate, which he should be since he was losing the woman he wants to marry.

In the end though everyone seems happy.  Dr. Bartolo doesn’t get the girl, but he gets the dowry.  Then he continues to bless the Count and Rosina on their marriage.  I felt this tied into the idea of “all’s well that ends well.”  Especially with the closing lines of “May love and faith eternal reign in both your hearts.”

While the play and opera versions of The Barber of Seville both have the same characters, same plot and take place in the same city, there are many slight differences. Of all the characters, Rosina and Figaro had the greatest differences in the two forms of the work. They both seemed much more involved in the opera version.

I felt that Rosine in the play was less present than she was in the opera. In the play, both Bartolo and the Count want to marry her but you don’t see her thinking about ther options and making chices about her own life as much as in the opera. In the opera, you can see her making the choices about what she wants. She is much more rebellious than in the play. I found her much more interesting and relatable in the opera than in the play.

Figaro was also much more important in the opera than the play. In the play you can see his role in the relationship between the Count and Rosine but you don’t see him as a major character as much in that version as you do in the opera.

I found that the opera version of The Barber of Seville in large part stayed true to Beaumarchais’ play.

The versions mainly differ in their approach to love and comedy. The play placed heavy emphasis on comedy. Rosine and The Count deeply loved each other and there were romantic elements but, the entire story seemed humorous thus portraying a sort of ‘comic love.’ The love story and The Count’s courtship of Rosine provided a background for the humorous tale. However, the story is romanticized by the opera. There weren’t as many truly funny moments and the love between The Count and Rosina was brought into focus. This romantic comedy version treated humor as an element of what was primarily a love story.

On a smaller scale, I found Figaro to be different from the play version. His entrance is loud, enthusiastic and slightly boastful. The Figaro that we see in the play is somewhat subdued, an easy going charmer who admits that being a barber was not his first choice. At the same time, he also does enjoy his work. Another important difference between the two versions of the characters is that the Figaro in the play doesn’t seem to someone who passes love notes and unites lovers on a daily basis. He is very well informed and has access to the houses of the rich and the powerful but it is not suggested that he actively uses his influence all the time. He is simply helping out his former master in this particular case. But the Figaro in the opera tells the audience that part of his job as barber to the nobility is to pass messages between lovers and act as the town gossip.

Operas and plays are in general quite different from each other. With the The Barber of Seville, the two have some differences despite having the same general plot and story line. There are only minor scene differences between the two versions. One major difference is that of the character Figaro. He seems to have “opposite” personalities in the play version and in the opera version. It turns out, Figaro plays a much larger role in the opera than in the play. Figaro also attracts much more attention that usual. The opera version even contains an extra scene just for Figaro. He is more important throughout the opera than in the play where he was just helping the plot. Figaro in the opera can even be said to be the spotlight of it with so much attention focused on him. Another big difference was the end with the marriage contract. In the opera, it was much more dramatic rather than just a threat.

Both versions were quite entertaining even with the differences. The play had its interesting points while the opera had its as well. It was fascinating to see two different versions of the same piece.

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.

In the opera and play version of The Barber of Seville, the plot and scenes remained relatively same. However, one difference in scene is where guards/officers come to check out what the ruckus is when the Count is disguised as a drunken soldier. This scene is shown in the opera version of The Barber of Seville, and in this scene, the Count reveals his identity to the soldiers. (Slayford-Wei)

Also, at the end of the opera version, everyone’s happiness seems to be the main focus. In the opera’s ending, Bartholo is satisfied with the dowry he will be receiving from the Count. (Schaffer) In the play’s ending, Bartholo clearly states that he does not want the money, therefore not being happy in the end. These two different versions with different endings, reveal different characteristics in the characters. Bartholo in the play is shown as someone who loves Rosine not for her wealth, whereas in the opera he does not seem to love her at all since he is satisfied with receiving her dowry.

I believe that the different endings were influenced by the type of genre they are. I know plays as being more tragic from reading Shakespeare, so Beaumarchais’ ending with Bartholo being the only sad character had little effect on me. On the other hand, I view opera’s as more energetic because of their singing. Their presence and energy on stage gave me the feeling that there would be a happy ending for everyone.

While reading the opera version of the “Barber of Seville” I noticed that basically the plot of the play has remained the same from Beaumarchais’ original play. In both, the count is fighting for Rosine’s and is trying to gain her love using costumes and with the help of Figaro. Bartholo plans to carry out his marriage with Rosine, but in the end the count will win the fight for her love. However, there were some differences in the characters and the style of the opera as well. Obviously, as an opera, one difference is that the scenes are carried out in song as opposed to the characters reciting each of their lines. Also, there are a few differences between the play and the opera in terms of how the scenes for directed. For instance, in the play the Count bribes the notary to persuade him to sign the marriage document. However, in the opera the Count threatens him with a gun. In my eyes, this adds to the drama of the opera and makes it more intriguing.
The importance of Figaro’s character is a major difference between the opera and the play. In the opera Figaro had a larger role and seemed to be the single main character of the play. however, in the play itself you get a sense that Figaro is a supporting character and that the main focus of the play is on the count rather than himself. The audience can see the significance of Figaro’s character and how much he means to the play. In the opera Figaro sings more than in the play and is more animated.

In the play version of the Barber of Seville, the audience came to appreciate the struggle for love that Rosine and the Count face. Figaro’s role became fate’s role. He initiated every action that occurred next. He was the driving force behind all of the consequences. Figaro WAS fate.

The play emphasizes the romance between the couple and how inevitable their love was. Nothing could separate these lovers apart, least of all Bartholo. The comedic factor in this story was how ridiculously impossible the love between the Count and Rosine was. Their marriage was so sudden.

In the opera version of Barber of Seville, Figaro is the star. He is still the driving force behind the consequences and now he is also the main character. The opera showcases what Figaro really contributes to the story. Everyone always seeks out Figaro and demands something from him. Be it haircuts, shaves, wigs, or favors, Figaro can accomplish anything. The comedy in this opera is the frustration of being Figaro. Everyone is calling his name and requesting his assistance as a barber and as a courier. He is never left alone. I personally find it hilarious he’s “complaining” that everyone demands something from him and he needs to handle it “one at a time.”