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The next striking number is the dance tempo, "Presso il bastion de Seviglia," a seguidilla sung by Carmen while bewitching Don José. In the finale, as she escapes, the Havanaise, which is the Carmen motive, is heard again. The second-act music is peculiarly Spanish in color, particularly that for the ballet.
That which placed his European fame on a solid basis was the production of "Il Barbiere di Seviglia" at Rome during the carnival season of 1816. Years before Rossini had thought of setting the sparkling comedy of Beaumarchais to music, and Sterbini, the author of the libretto used by Paisiello, had proposed to rearrange the story.
My father had directed my attention to the subject by putting in my hands a sketch of the life and works of Lope de Vega, by Lord Holland. The story of La Estrella de Seviglia appeared to my father eminently dramatic, and he excited me to choose it for the subject of a drama. I did so, and Messrs.
At a very early age she would sing and play the part of Norma, and knew the whole of the words and music of Rosina, the heroine of Rossini's immortal "Il Barbiere di Seviglia."
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