The Barber of Seville 1823, and became the first opera ever to be performed in Italian in New York, when Manuel Garcia (who played Almaviva) and his Italian troupe opened their first season there with "Il barbiere" on 29 November 1825 at the Park Theatre. The cast of eight had three other members of his family, including the 17-year-old Maria-Felicia, later known as Maria Malibran. The role of Rosina was originally written for a contralto. According to music critic Richard Osborne, writing in "The New Grove Dictionary of Opera", "it is important to record the degree to which singers have sometimes distorted Rossini’s intentions.
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