Ah, yes. But the Verdi is probably just as comic, albeit the black variety. 

Princess Eboli was a real historical figure, who wore an eyepatch - having apparently lost an eye in a duel.  I await a stage production that reproduces this slice of history.

I remember seeing a Scottish Opera touring production many years ago, in which not only did Don Carlos fail to judge the tessitura, but also failed to notice that Eboli was a good nine inches taller than Elisabetta ...

Any Rossinian examples?

Bravo, Don B! That's quite a collection.  


That one can often be quite convincing, especially given the similarities in voice between Leporello and the Don.


It was indeed!


Yes. Quite unbelievable that Mime doesn't work out who he is when he comes to play Twenty Questions in Act I, especially given the eyepatch. Perhaps he should get together with Eboli?!

Any disguises in Mussorgsky? Beethoven? Rossini other than Barbiere and Ory? Early-to-mid career Verdi?

Have you had Alidoro disguised as a beggar in La Cenerentola? (I feel there must be some other operatic characters disguised as beggars but I can't think who - Ulisse, I suppose.)

Like most of the output of that sad, dissolute genius it was unfinished and lying in scraps when he lost his battle with the bottle.  Enough of it is left to assemble a reasonably complete version, though - the missing parts are usually filled-out by a narrator reading from Gogol's story of the same name.  The story is remarkably similar THE BARTERED BRIDE...  young Gritsko comes courting Parasya, and hits it off splendidly with her father over a drinking-bout or two.  However, Parasya's mother Khivrya will have none of this - she's been at loggerheads with her husband for years over his stop-out ways, and the idea of a son-in-law who appears just the same causes her to throw him out.  Vowing to have revenge, Gritsko puts it about that he's had a better offer elsewhere anyhow... Khivrya is finally forced to apologise to him and welcome him as a son-in-law.  There's a very pretty aria for Parasya when she thinks she's been abandoned,  but it's mezzo-soprano's opera overall, and Khivrya has the lioness's share of the music.  The most difficult piece of reconstruction is that the ending is entirely missing...  its absence is usually covered-over with a reprise of the Drinking Chorus from Act I.

Leonora is disguised as Fidelio.

There is a thin line between passing yourself off as someone else and actual disguise, which implies a bit of dressing up.

The false Dimitri in Boris is obviously passing himself off as someone he is not, and although he is no longer dressed as a novice monk, I wouldn't really say he was disguised.  But you can disagree.

harpy has reminded me with her talk of Rossini and masked balls, there is a masked ball in Il  turco in Italia where there is lots of confusion over identity.