Opera : Le Barbier de Séville de Rossini

15 The Public Place.-One sees Bartolo and Basil come out of the house of the doctor. The latter orders his servants, L'Eveille and La Jeunesse, to station themselves together at the door and not to let anybody enter during his absence. As soon as Basil and Bartolo are gone Figaro leaps from Rosina's balcony into the street and approaching the two lackeys, of whom he is the regular physician, he solicits them to take some medicine, which he offers while he tells them that they do not look well. He gives to one a sleeping powder and to the other a medicine for stimulation. The two unfortunate footmen begin immediately the one to yawn the other to sneeze continually, Figaro nearly bursts with laughter, but when he sees Bartolo returning he conceals himself in the place. 16. Lartolo asks his footmen what has happened in his absence, but neither of them is able to reply, the one yawns and the other sneezes alternately. Bartolo in a rage drives them into the house and follows after them. 17. Figaro then makes a sign to Count Almaviva, who enters concealed in anew disguise which Figaro declares to be superb, Figaro knocks at Bartolo's door: La Jeunesse opens. Figaro presents Almaviva under the name of Don Alonzo, pupil of Basil, who comes in the place of his master, who is ill and in bed, to give the singing lesson to Rosina. La Jeunesse leads in Almaviva, who enters followed by Figaro. Sixth Tableau: 18. The Singing Lesson. - Arrival of Figaro and Almaviva, the latter disguised as a singing teacher. Bartolo learns with surprise of the illness of Basil, who has left but a few hours ago. Suspecting some farce he insists that the lesson shall take place in his presence. He seats himself in an arm chair and orders the professor to begin the lesson. Rosina sings, Bartolo beats the time and quietly falls asleep. The two lovers approach and hug one another behind the old man's back. Bartolo awaking, Rosina and Almaviva suddenly start up and begin to sing. The same play is renewed a second time, when suddenly, to the amazement of all, Basil appears in person to give the singing lesson. 19. Bartolo requests him for information, and Figaro, Rosina and Almaviva make violent efforts to compel him to be quiet, and above all to persuade him that he is ill, that he has a fever and that he did wrong not to stay in his room, In his bewilderment Basil exclaims, "What deception is being practiced here?" Almaviva slips a purse into his hand and whispers in his ear, "You are ill." "Ah, I understand," cries Basil. He pockets the money, and assuming an afflicted expression, he announces that he does not feel well. "Go to bed, Basil, you have a fever," cry all three together, and at the same time gathering around him, each in turn gives him a push, which finally sends him to the door. 20. Figaro pushes forward an armchair and gets ready to shave Bartolo. The latter tries to keep his eye on Rosina and Almaviva, who have got near one another and are making love, but Figaro half strangles him with the napkin, cuts him while shaving, fills his eyes with lather; in short, puts him in such a way that it is impossible for him to see what is going on. Bartolo, in a rage, drives everybody to the door and sends Rosina to her room. 21. Return of Basil who, while having pretended to obey by going home to bed because he received Almaviva's money, has craftily come back to warn Bartolo. He enters, soaked to the marrow, carrying a lantern and a dripping umbrella, It is storming fiercely without; he has come to take shelter in Bartolo's house. Bartolo has not time to listen to anything; he has not a minute to lose, for he fears that Rosina may escape him, In spite of the rain Basil and he will go at once to find and bring back the notary in order that the marriage may take place at once. They go out. 22. Figaro reappears by the window. He tells Rosina that he is bringing Almaviva. The two lovers fall into one another's arms. Arrival of the notary, preceded by footmen bearing torches and accompanied by his secretary. Chairs and a table are brought; the notary sits down and asks who are the contracting parties, Figaro presents the Count and Rosina. Both sign the marriage contract, and Figaro signs as a witness. At this moment Basil enters. 23. The notary remarking that two witnesses are necessary, Figaro asks Basil to sign also, The latter, astounded at what is taking place under his eyes, refuses, alleging that he has promised his aid to Bartolo, and that his conscience does not permit him to go against his word. Almaviva gives a purse to Figaro, who throws it to Basil right over the notary, The latter catches it, of course, and pockets it. "That is for your conscience, Basil," says Figaro, "and now will you sign? Ah," replies Basil, while lifting the purse, "You have arguments of such a weight." He signs. 24. Bartolo, who has seen Figaro and Almaviva enter by the window, has rushed for an officer. They enter and the enamored old man orders everybody to be arrested. The alguazils put their hands upon the collar of the notary, but they are profuse in their excuses when they recognize him. They arrest, then, Almaviva, who throws off his cloak, and, to the confusion of all, discloses a gorgeous costume, and announces that he is the Count Almaviva, governor of the Province. Everybody bows respectfully. The alguazils, angry at having been disturbed for nothing, withdraw, followed by the notary, the lackeys, the Count, who escorts his Rosina, now become his bride, and by Figaro, who puts Bartolo into derision. 'The sly Basil, ill at ease, seeks to sneak away without being seen, but Bartolo seizes him in his passage to the door and reproaches him bitterly. Basil, a moment disconcerted, recovers his composure, and assuming the air of a spiritual adviser, exclaims: "What do you want, Doctor? It is that such was the will of God. I always bend submissively before it." And he fled away, leaving Bartolo in his armchair absolutely collapsed. 25. The Marriage-The place before the church has been invaded by a merry crowd acclaiming the sumptuous cortege which accompanies Count Almaviva and Rosina in their exit from the church. The cortege, preceded by a master of ceremonies and terminated by the ladies of honor and the Count's friends, crosses the square. Figaro follows while giving his arm comically to Marcelina ridiculously burdened with her holiday attire and wincing in a most laughable manner. The boy and girl students dance gleefully. Figaro, always a jester, returns with a mannequin dressed up to imitate Don Basil, his perpetual enemy. Basil is hung in effigy above the square in the midst of approving yells. At this moment the veal Basil, crossing the place by accident, perceives what is taking place, and seized with a foolish and cowardly terror of being dragged into the crowd, bounds away at fell speed and bumps into Bartolo, who is hurrying to prevent the marriage if there is yet time. Both roll upon the ground, Basil picks himself up and starts on running. Figaro forces Bartolo to dance with the others. The unfortunate old man, depressed and biffed, falls down all out of breath, and the crowd dance around him an hilarious jig.