He leapt into fame with 'Tancredi,' which was produced
in 1813 and established his reputation as a composer of opera seria. In
opera buffa, a field in which his talents shone even more brilliantly,
his earliest success was made with 'L'Italiana in Algeri' (1813), which
was followed in 1815 by the world-famous 'Barbiere di Siviglia.' This
was originally produced in Rome under the name of 'Almaviva,' and
strangely enough, proved an emphatic failure. For this, however, the
music was scarcely responsible. The people of Rome were at that time
devotees of the music of Paisiello, and resented the impertinence of the
upstart Rossini in venturing to borrow a subject which had already been
treated by the older master. 'Il Barbiere' soon recovered from the shock
of its unfriendly reception, and is now one of the very few of Rossini's
works which have survived to the present day. The story is bright and
amusing and the music brilliant and exhilarating, but it is to be feared
that the real explanation of the continued success of the little opera
lies in the opportunity which it offers to the prima donna of
introducing her favourite _cheval de bataille_ in the lesson scene. The
scene of the opera is laid at Seville. Count Almaviva has fallen in
love with Rosina, a fascinating damsel, whose guardian, Bartolo, keeps
her under lock and key, in the hope of persuading her to marry himself.
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