The Barber of Seville The most serious distortion has been the upward transposition of the role of Rosina, turning her from a lustrous alto into a pert soprano." However, it has also been noted that Rossini, who frequently altered his music for specific singers, wrote a new aria for the second act for Joséphine Fodor-Mainvielle, a soprano who had sung Rosina in the 1818 London premiere, and sang the new aria c. 1820 at the Théâtre-Italien in Paris, where it was published. The singing lesson in act 2 has often been turned into "a show-stopping cabaret." Adelina Patti was known to include Luigi Arditi's
The Barber of Seville (play) Guilty Mother". Though the play was poorly received at first, Beaumarchais worked some fast editing of the script, turning it into a roaring success after three days. The play's title might be a pun on Tirso de Molina's earlier play "El Burlador de Sevilla" ("The Trickster of Seville"). Mozart wrote a set of 12 variations, K.354, on one of Baudron's songs, "". 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