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Rosina is now the Countess. Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself, and Count Almaviva has degenerated from the romantic youth of Barber, (a tenor in Paisiello's 1782 opera), into a scheming, bullying, skirt
Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door. They are Basilio and the notary. The Count, Rosina, and Figaro attempt to leave by way of the ladder, but discover it has been removed.
Countess Almaviva laments, ... Dove sono" is an aria of Countess Rosina from the third act, preceded by a recitative, "E Susanna non vien!" (Susanna's not come!). [1]
The story follows a traditional commedia dell'arte structure, with many characters seemingly based on famous stock characters. The plot involves a Spanish count, called simply The Count, although "Almaviva" appears as an additional name (whether it is a first name or a surname is not clear), who has fallen in love at first sight with a girl called Rosine.
Almaviva, deceived by false letters that present Torribio as Don Alvaro, agrees to the marriage. But Inez is in love with Cherubino and tries, with the help of the Countess Rosina and Susanna, to avoid the undesired union. Cherubino, disguised as another Figaro, gains Almaviva's trust and becomes his servant.
Sabine Peters as Countess Rosina, sung by Tiana Lemnitz; Mathieu Ahlersmeyer as Count Almaviva; Elsa Wagner as Marcellina, sung by Margarete Klose; Victor Janson as Dr. Bartolo, sung by Eugen Fuchs; Alfred Balthoff as Basilio, sung by Paul Schmidtmann; Franz Weber as Don Curzio, sung by Kurt Reimann Ernst Legal as Antonio, sung by Willi Sahler
Meanwhile, Count Almaviva is engaged in a secret plan to sell Marie Antoinette's jeweled necklace [a] to the English ambassador to buy the Queen's freedom. The Count, Beaumarchais explains, is estranged from his wife Rosina due to her affair, years earlier with Cherubino. Though Cherubino is now dead, Rosina bore him a son, Léon.
Paisiello's version did receive revival in later years, including Paris (1868); Turin (1875); Berlin (1913); and Monte Carlo (1918). Associate Artists Opera gave the first Boston performances in 1972 with David Evitts as Figaro, Alexander Stevenson as Almaviva, Kenneth Bell as Bartolo, Jo Ella Todd as Rosina, and Ernest Triplett as Basilio.