| Il Barbiere di Siviglia |
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| Lyric tenor role. He is courting Rosina, disguised as her music teacher. |
| Year |
| Artist |
| 1925 |
| 1926 |
| 1929 |
| 1935 |
| 1936 |
| 1938 |
| Dino Borgioli |
| 1939 |
| 1976 |
| John Walker |
| 1941 |
| 1982 sum |
| Dano Raffanti |
| 1950 |
| 1953 |
| 1965 |
| 1968 |
| 1992 sum |
| Jorge Lopez-Jaņez |
| 2003-2004 |
| Helene Schneiderman |
| 1996-1997 |
| Nino Martini |
| Franco Perulli |
| Cesare Valletti |
| 1963 |
| Bruce Ford |
| 1996-1997 |
| Roberto Saccā |
| 1942 |
| 1945 |
| Bruno Landi |
| 1948 |
| John Garris |
| 1958 |
| Richard Miller |
| Cesare Valletti |
| Pietro Bottazzo |
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| 2003-2004 |
| Yann Beuron |
| 2003-4 Jan |
| Count Almaviva |
| San Francisco Opera Count Almaviva History |
| Alexander Young |
| 1987 |
| Patrick Power |
| Matthew Polenzani |
| Eugene Conley |
| 2003-2004 |
| Matthew Polenzani |
| Act One, Scene 1: Gente Indiscreta |
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| Aria Data Base for Count Almaviva |
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| Act One, Scene 1: Ecco, Ridente In Cielo |
| Act Two: Bella Voce! Bravissima! |
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| Cessa di piu resistere |
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| whole aria |
| 1958*Richard Miller was rather out of his element singing Almaviva, his delicate diminuendos into something close to silence being altogether too negative for that auditorium if not without some style. |
| 2006-2007 |
| 2006*Debuting tenor, John Osborne (Count Almaviva), broke loose from the staging constraints and presented himself in his arias directly to the audience. It was glorious. His voice was pure and incisive, and his coloratura, high notes, and phrasing were meticulous./ Review |
| John Osborne |
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| 2003-As the love-struck Count Almaviva, debuting French tenor Yann Beuron struggled mightily at first; in his first aria, "Ecco ridente," he proved unable to negotiate the role's coloratura, even at the indulgently slow tempo that Soltesz provided for him. He warmed up later, but never mustered the ringing clarity that this music needs./ Review |
| 1972 (spot) |
| John Brecknock |
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| 1941-Franco Perulli as Count Almaviva. |
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