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.