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Thus you will have created in the bosom of your home a comedy in five acts, in which you play, to your profit, the brilliant role of Figaro or Almaviva; and for some months you will amuse yourself so much the more, because your amour-propre, your vanity, your all, were at stake.
Unfortunately this scheme is frustrated by the arrival of the guard, who arrest the refractory hero and carry him off to gaol. In the second act the Count succeeds in getting into the house as a music-master, but in order to gain the suspicious Bartolo's confidence he has to show him one of Rosina's letters to himself, pretending that it was given him by a mistress of Almaviva.
Almaviva is about to engage her in conversation when Bartolo appears and discovers a billet-doux which Rosina had intended to drop into the hand of her Lindoro. He demands to see it, but she explains that it is but a copy of the words of an aria from an opera entitled "The Futile Precaution," and drops it from the balcony, as if by accident.
I imagined another intrigue like that of Almaviva, but was again disconcerted in all my suppositions. The supposed lover turned out to be the husband of the lady, and a noted contrabandista; and all his mysterious signs and movements had doubtless some smuggling scheme in view . . . .
If his lordship Count Almaviva wants a friend to carry the lanthorn or to hold the ladder; do you suppose there are not many most respectable men in society who will act Figaro? When Farintosh thought fit, in the fulness of time and the blooming pride of manhood, to select a spouse, and to elevate a marchioness to his throne, no one dared gainsay him.
Soon the ill-natured guardian grows impatient of his garrulity, and Almaviva, to allay his suspicions and gain a sight of his inamorata, gives him a letter written by Rosina to Lindoro, which he says he had found in the Count's lodgings. If he can but see the lady, he hopes by means of the letter to convince her of Lindoro's faithlessness.
Her husband, entering her room, would fall over the sabre and spurs of Count Almaviva from the boulevard, or Don Basilio with his great sombrero and shoe-buckles. The old gentleman was breathless and bewildered in following her through all her vagaries. He was of old France, she of new.
It speaks volumes for the ingenuity of the librettist that though the imbroglio is often exceedingly complicated, no one feels the least difficulty in following every detail of it on the stage, though it is by no means easy to give a clear and comprehensive account of all the ramifications of the plot. The scene is laid at the country-house of Count Almaviva.
The pieces which the First Consul most liked to see us perform were, 'Le Barbier de Seville' and 'Defiance et Malice'. In Le Barbier Lauriston played the part of Count Almaviva; Hortense, Rosins; Eugene, Basil; Didelot, Figaro; I, Bartholo; and Isabey, l'Aveille.
The pieces which the First Consul most liked to see us perform were, 'Le Barbier de Seville' and 'Defiance et Malice'. In Le Barbier Lauriston played the part of Count Almaviva; Hortense, Rosins; Eugene, Basil; Didelot, Figaro; I, Bartholo; and Isabey, l'Aveille.
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