(“A un dottor della mia sorte” – “to a doctor of my station”)
““The Barber of Seville,” a witty comedy written by Pierre-Augustin Caron de Beaumarchais in 1775, was later transformed into a lively opera by Gioachino Rossini in 1816. Rossini’s adaptation breathed new musical life into this classic tale.
The Story
Rosina lives under the supervision of Doctor Bartolo, who wishes to marry her for her dowry. Count Almaviva, smitten with Rosina, enlists the help of Figaro, the clever barber of Seville, to devise a series of plans to approach her.
The Count first disguises himself as a drunken soldier with a fake lodging order. Later, he poses as a music teacher, replacing Don Basilio, the actual instructor Bartolo had invited to teach Rosina.
Through these disguises and Figaro’s cunning, the Count manages to meet Rosina and confess his feelings. Charmed by his advances, Rosina falls in love with him.
Despite Doctor Bartolo’s schemes to thwart their union, Count Almaviva and Rosina ultimately marry, thanks in large part to Figaro’s assistance. The opera concludes with Bartolo’s defeat and the celebration of the Count and Rosina’s triumphant love.
The Doctor’s Role in the Opera
Don Bartolo, an elderly, greedy, and jealous doctor, seeks to marry his young ward, Rosina, primarily for her fortune. This central character is frequently mocked for his futile attempts to control Rosina and thwart Count Almaviva’s advances.
Don Bartolo embodies the negative stereotype of the 18th-century doctor: greedy, incompetent, and more concerned with his own profits than his patients’ well-being. This portrayal reflects society’s criticism of a profession often perceived as corrupt and prioritizing money over care.
Despite his position as a doctor, Don Bartolo is frequently portrayed as inept and ignorant. This is evident in numerous scenes where he’s easily deceived by other characters, particularly the clever barber Figaro and the cunning Count Almaviva.
As a doctor, Don Bartolo holds a position of authority in society, yet his authority is frequently mocked and challenged. This criticism extends beyond doctors to all powerful figures who exploit their positions for personal gain.
Ultimately, Don Bartolo’s character serves as a satirical critique of society and its institutions. Beaumarchais uses this figure to expose the hypocrisy and corruption not only within the medical profession but also among other powerful figures of the time.
Historical context
In the 18th century, the figure of the doctor differed greatly from today’s. Medicine was still an evolving science, with many physicians viewed as charlatans rather than true professionals. Limited medical training, often accessible only to the wealthy, created a class of doctors more interested in social prestige and personal gain than patient care.
Beaumarchais’ satire reflects this reality, exposing the hypocrisy and corruption in the medical profession. Doctors like Don Bartolo are portrayed as authoritative figures who frequently abuse their power, prioritizing their own interests over their patients’ well-being.
In “The Barber of Seville,” the doctor emerges as a sharp social critique, embodying the flaws and hypocrisies of the 18th-century medical establishment through the character of Don Bartolo.