From the moment of its premiere in Rome in 1816, The Barber of Seville became Rossini's most popular opera. Based on the first play of the trilogy by Beaumarchais, it forms a 'prequel' to Mozart's Marriage of Figaro, which takes the second play as its plot. The third play 'A Mother's Ruin' has never attracted composers for some reason. The birth of the opera was not an easy one. Although Rossini worked at lightening speed producing over 600 pages of manuscript in less than two weeks, he had to use music from earlier operas -- including the overture. More importantly, he faced a vitriolic campaign by supporters of Paisiello, whose own Barber of Seville (1782) was extremely popular. Rossini's opera is every bit the gem that Mozart's is: compact, tightly constructed, and the pace never falters throughout in a continuous flow of melodic charm from start to finish. The favourite moment in the opera since the premiere is the famous Act 1 aria for Figaro 'Largo al factotum' -- every baritone's party piece!