Almaviva, Count 1. (Rossini: Il barbiere di Siviglia). Tenor. A Spanish nobleman, he presents himself as a student, Lindoro, in order to woo Rosina, ward of Dr Bartolo. He is helped by Figaro, Bartolo's barber. He enters Bartolo's house disguised as a drunken soldier and is recognized by Rosina. He is arrested but released when the officer realizes who he is. His second entry to the house is in the guise of Basilio's pupil, come to give Rosina a music lesson. Unfortunately, the real Basilio arrives in the middle of the lesson and has to be ushered out again. Figaro manages to secrete the balcony-window key, but the young couple's efforts at eloping are frustrated. However, Figaro has found a notary willing to marry them. Arias: Ecco ridente in cielo (‘Lo, in the smiling sky’); sextet (with Rosina, Bartolo, Figaro, Basilio, and Berta): Freddo ed immobile (‘Awestruck and motionless’). This is always a popular tenor role and has been sung by, among others, Dino Borgioli, Fernando De Lucia, Heddle Nash, Giuseppe Di Stefano, Luigi Alva, Peter Schreier, Ryland Davies, Nicolai Gedda, and Bruce Ford. Created (1816) by Manuel García.
2. (Mozart: Le nozze di Figaro). Baritone. Married to Rosina (the Countess), whom he has neglected in favour of various amorous relationships. He attempts to seduce her maid Susanna and when almost caught in the act, has to hide behind a chair. He accuses his wife of having an affair with Cherubino and gives the young soldier a commission which means he must leave at once to join his regiment. He remains suspicious and continues to try to catch the Countess with a lover, while he himself still hopes to seduce Susanna. She plots with her mistress and Figaro to teach the Count a lesson and they prove the Countess's innocence and Almaviva's fickleness. He has to beg his wife's forgiveness. Aria: Vedrò, mentr'io sospiro… (‘Must I live to see’); ensemble (with Countess and others): Contessa, perdono! (‘Countess, forgive me!’). This has remained one of the most popular bar. roles and among its best-known exponents are Roy Henderson, Matthieu Ahlersmeyer, George London, Sesto Bruscantini, Paul Schöffler, Gérard Souzay, Eberhard Wächter, Dietrich Fischer-Dieskau, Hermann Prey, Gabriel Bacquier, Tom Krause, Thomas Allen, James Morris, and Anthony Michaels-Moore - a veritable roll-call of famous baritones. Created (1786) by Stefano Mandini (whose wife created Marcellina).
3. (Corigliano: The Ghosts of Versailles). Tenor. Twenty years after the marriage of Figaro and Susanna, Count Almaviva and Rosina are still together. He has an illegitimate daughter who is loved by Rosina's son from her affair with Cherubino. His help is enlisted by the author Beaumarchais, to rescue Marie Antoinette. Created (1991) by Peter Kazaras.
