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.

The opera version was very similar to the play version. Both have the same story line and ending. The story still remains about Count Almaviva trying to garner Rosina’s love. The count has the help of Figaro in his attempt to gain Rosina’s love; Bartolo still tries in force Rosina to marry him. The ending of the story as well hasn’t changed at all. The Count marries Rosina and Bartolo is left without love but with some money.  There were some differences though and the main one would be the importance of Figaro in the opera. In the play the title of the play was a little misleading because the play wasn’t really about Figaro it was about Rosina and the Count. In the opera though the title is very befitting. Figaro becomes someone who controls the fate of everyone around him. With his entrance in the opera it becomes evident that Figaro’s role in the opera would be more than a former employee to the Count.

Another difference was the ending. In the opera it was more of a happily ever after for everyone. In the opera even Bartolo was happy even though his love, Rosina, had just been stolen from him and his only compensation is some money. The ending of the play gave off an unrealistic fairy tale feeling. The fact that Bartolo was marrying Rosina for her money has completely changed the story from the play.  In, the play Bartolo was in love with Rosina as opposed to with her money.  I feel that I was able to be more empathic to the Bartolo in the play character because he was in love and you were able to feel sorry for him. But, in the opera he was a scrooge and even though people can relate to this opera version I did not feel as much emotion for him as I did for the play version.

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.