The letter which Rosina had thus slyly conveyed to her unknown lover begged him to contrive means to let her know his name, condition, and intentions respecting herself. Figaro, taking the case in hand at once, suggests that Almaviva publish his answer in a ballad. This the Count does ("Se il mio nome saper"), protesting the honesty and ardor of his passion, but still concealing his name and station. He is delighted to hear his lady-love's voice bidding him to continue his song. (It is the phrase, "Segui, o caro, deh segui così," which sounded so monstrously diverting at the first representation of the opera in Rome.) After the second stanza Rosina essays a longer response, but is interrupted by some of the inmates of the house. Figaro now confides to the Count a scheme by which he is to meet his fair enslaver face to face: he is to assume the rôle of a drunken soldier who has been billeted upon Dr. Bartolo, a plan that is favored by the fact that a company of soldiers has come to Seville that very day which is under the command of the Count's cousin. The plan is promptly put into execution. Not long after, Rosina enters Dr. Bartolo's library singing the famous cavatina, "Una voce poco fà," in which she tells of her love for Lindoro and proclaims her determination to have her own way in the matter of her heart, in spite of all that her tyrannical guardian or anybody else can do. This cavatina has been the show piece of hundreds of singers ever since it was written. Signora Giorgi-Righetti, the first Rosina, was a contralto, and sang the music in the key of E, in which it was written. When it became one of Jenny Lind's display airs, it was transposed to F and tricked out with a great abundance of fiorituri. Adelina Patti in her youth used so to overburden its already florid measures with ornament that the story goes that once when she sang it for Rossini, the old master dryly remarked: "A very pretty air; who composed it?" Figaro enters at the conclusion of Rosina's song, and the two are about to exchange confidences when Bartolo enters with Basilio, who confides to the old doctor his suspicion that the unknown lover of Rosina is the Count Almaviva, and suggests that the latter's presence in Seville be made irksome by a few adroitly spread innuendoes against his character. How a calumny, ingeniously published, may grow from a whispered zephyr to a crashing, detonating tempest, Basilio describes in the buffo air "La calunnia"--a marvellous example of the device of crescendo which in this form is one of Rossini's inventions. Bartolo prefers his own plan of compelling his ward to marry him at once. He goes with Basilio to draw up a marriage agreement, and Figaro, who has overheard their talk, acquaints Rosina with its purport. He also tells her that she shall soon see her lover face to face if she will but send him a line by his hands. Thus he secures a letter from her, but learns that the artful minx had written it before he entered.