Every great comedy needs someone who knows everyone, fixes everything, and stays three steps ahead. In opera, that person is Figaro. In The Barber of Seville, he isn’t the romantic lead, but he is the reason the story moves at all. A barber by trade and a schemer by instinct, Figaro turns Count Almaviva’s impossible love problem into a fast-moving game of disguises, distractions, and perfectly timed interventions.
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