The Barber of Seville
Original Title: Il Barbiere Di Siviglia
Opera buffa in two acts and four scenes by Gioacchino Rossini
Libretto by Cesare Sterbini
Based on Pierre-Augustin's comedy of Beaumarchais,
"Le Barbier de Seville"
Original version in Italian with subtitles (optional)
Musical Director : Martin Mázik
Stage Manager : Pier Francisco Maestrini
Musical Director : Luis Miguel Lainz
Customes : Arrigo (Milano - Italia)
Wigs : Mario Audello (Torino - Italia)
Soloists, Choir and Orchestra from Opera 2001
Jon Plazaola, Giorgio Trucco
Javier Galán, Michele Govi
Linda Campanella, Hiroko Morita
Matteo PEIRONE, Stefano De Peppo
* Cast still to be determined, this list is merely a guide based on our latest production. Auditions in progress to determine the final cast
The action is set in Seville, in the eighteenth century:
It is the story of the old Doctor Bartolo, determined to marry his pupil Rosina.
But Rosina is in love with the young Count Almaviva who, with the complicity of the barber Figaro, comes disguised in various ways to Bartolo's house.
Basilio, a suspicious Jesuit alternately serves the interests of both Bartolo and Almaviva...
Count Almaviva; Doctor Bartolo, Rosina's tutor; Don Basilio, a music teacher; Figaro, a barber; Fiorello, servant of the Count; Rosina, Berta (servant of Don Bartolo)
The action is set in Seville, in the eighteenth century
(two scenes: a street in front of Bartolo's house, then inside the house).
Almaviva sings a serenade under the windows of Rosina; Figaro the barber offers himself to facilitate his projects. Rosina leans out of the balcony and drops a music scroll containing a note.
Bartolo, wary, considereds prudent not to waste time and runs inside Basilio's home, in charge of preparing everything for his wedding.
However, the Count and Figaro are intending to enter Bartolo house thanks to a stratagem. Rosina writes a letter to Almaviva, which Figaro intercepts. Basilio arrives and, after informing Bartolo of the Count's presence in Seville, suggests that some slander will divert the importunate. Then Bartolo interrogates his pupil, who deftly pretends; Almaviva appears, disguised as a soldier: he is drunk and puts to the test his tutor's patience (the act ends with a sextet and finale: one of the most demonized and renowned the lyric theatre).
(two scenes: Bartolo's house).
Now, Almaviva presents himself dressed as a singing teacher: as soon as she recognizes her "professor", Rosina accepts to showcase her vocal virtuosity (here, the "singing lesson" usually has a bright fragment that replaces the original aria "Contro un cor").
But Basilio, when everyone believed him sick, unexpectedly appears: Almaviva gives him a bag Basilio consent to lay down again. However, Bartolo unmasks the Count and throws them all out.
The next night a storm brakes down which Figaro and Almaviva take advantage off to slip through a window; meanwhile, Bartolo sends for a notary ...
When the Count comes in, Rosina, deceived by her tutor presents overwhelms him with reproaches: but soon Almaviva reveals his identity and when Basilio arrives with the notary, the young ones immediately marry. As soon as Bartolo learns that Almaviva cedes him Rosina's dowry, he complies with philosophy.