Seville is normally presented as a universal city thanks to, among other reasons, the operas that chose it to develop their arguments: Le nozze di Figaro, Il dissoluto punito, ossia il Don Giovanni, Il barbiere di Siviglia, La Favorite, Carmen among other in a long list, either through variations of the original creations of the original creations themselves, adding up to more than a hundred different titles. In all of these works, Seville is present together with the characters, including its traditions, its architecture and its stories and legends, but not all of them reflect the physical and spiritual geography of the city with the same verisimilitude nor same intensity. The one that best knew to do it was probably the immortal opera of Rossini Almaviva ossia L’inutile precauzione, based on a comedy by Beaumarchais, Le barbier de Séville, and adapted to libretto by Sterbini. Very soon, practically since the problematic premier in Rome in 1816, the work would gain an extraordinary popularity and would become known worldwide as Il barbiere di Siviglia, which moved the primitive version from Paisiello. Thus, this way, the name of Seville remained linked to the new creation of Rossini, including its definitive title.