1 (Rossini: Il barbiere di Siviglia). Mez. Ward of the elderly Dr Bartolo, who wants to marry her. She is wooed by the student Lindoro, whom she does not know is Count Almaviva in disguise. He enters the house and they confess their love for each other, but her guardian is suspicious. Almaviva returns, this time disguised as a pupil of her music teacher, Basilio (supposedly ill). During their singing lesson, Bartolo falls asleep and the young couple move closer to each other. With the help of the barber Figaro, they plan their elopement, but are thwarted in their attempts when a ladder placed under the balcony window is removed. However, Figaro coaxes the notary hired by Bartolo, to marry Almaviva and Rosina. Aria: (the ‘letter scene’): Una voce poco fa (‘The voice I heard a while ago’); sextet (with Figaro, Bartolo, Basilio, Berta, and Almaviva): Fredda ed immobile (‘Awestruck and motionless’). Created (1816) by Geltrude Righetti—Giorgi.
2 (Corigliano: The Ghosts of Versailles). Sop. Wife of Count Almaviva. In the 20 years since her maid, Susanna, married Figaro, Rosina has had a son, Léon, the result of an affair with Cherubino, and Almaviva refuses to acknowledge him. They have all been recalled to take part in a further Beaumarchais play, in which the poet attempts to alter the course of history in order to save the woman he loves, Queen Marie Antoinette. Created (1991) by Renée Fleming. See also Countess (1).