Opera "Il Barbiere di Siviglia" G. Rossini Brilliant Classical Stanislavsky Ballet and Opera theatre (established 1887, founded by Stanislavsky)
Running time: 3 hours
Schedule for "Il Barbiere di Siviglia" G. Rossini 2022
Composer: Gioacchino Rossini Light Designer: Damir Ismagilov Designer: Vladimir Arefiev
Orchestra: Stanislavsky theatre symphony orchestra
Opera in 2 acts
Premiere of this production: 11 February 2010
The action of “The Barber of Seville” is set...no matter where and when
indeed. In Beaumarchais’ stage directions one reads ”old Spanish costumes”,
Rossini moved the action to the 18th century which was not old but rather
contemporary for the writer. One of the famous productions went as far as to
show Beaumarchais and Rossini’s characters as Turkish or Arabs. Though Italy is
very kindred to this story. It is an immense pleasure to watch this pointless
but full of true human stories narrative evolving in an ambiance of jauntily
dressed silent passers-by, neighbours chewing their pasta, a whole herd of rare
motorbikes and worn-out furniture that would fit quite well into one’s parents’
apartment. The classical Spanish story is not set in sunny jolly festal Spain
but in snow-covered Italy from "Euronews" and Italian neo-realistic films, and
now and then Soviet history shines through lovingly, mildly with a slight
nostalgia
Composer Gioachino Rossini
Libretto by Cesare Sterbini
Musical Director and Conductor Wolf Gorelik
Stage Director Alexander Titel
Set Design Vladimir Arefiev
Lighting Damir Ismagilov
Genre Opera buffa
Number of acts 2
Language Italian
Premiere February 11, 2010
Rossini’s composed "Il barbiere di
Siviglia" in a very short space of time: it was necessary to finish it by the
beginning of a winter carnival in 1816. To avoid annoying the famous composer
Giovanni Paisiello, whose opera "Il barbiere di Siviglia" had been already
performed on Italian boards, Rossini named his work "Almaviva, or the Useless
Precaution", but several years later Rossini’s masterpiece replaced its rival
and entered the history of music as the only opera named "Il barbiere di
Siviglia".
One of the secrets of eternal youth of "Il barbiere di Siviglia" is a
powerful tradition of Itaian commedia dell’arte. The plot is quite
unpretentious: young people would like to marry against either their old
fathers’ or a tutors’ will. Servants are the main characters in commedia
dell’arte, they usually help the lovers, being crafty, quick-witted, not missing
a chance to fool the masters to their own profit.
The outline is wrapped with improvisation. The soloists are free to improvise
in cadences and nobody knows beforehand, which aria Rosina is going to sing at
her vocal lesson. The generation gap, which is so important for commedia
dell’arte, reaches its point here: Bartolo’s old-fashioned arietta is contrasted
with contemporary Rosina’s part. For example, Polina Viardo, who debuted as
Rosina in Saint-Petersburg in 1843, performed Glinka’s romances.
Action of "Il barbiere di Siviglia" takes place in Spain, but you won’t hear
any Spanish tunes. However, there is a visible "Russian scent". Rossini was a
frequent visitor to the houses of Russian aristocrats, who spent their winters
in Rome, and he heard Russian folk songs there. A couple of them got to the
score of his opera.
It happened so that it is the first time when People’s Artist of Russia
Dmitry Bertman, who staged more than 70 productions all over the world,
addressed to "Il barbiere di Siviglia". Comic opera is a very complicated genre.
To create an atmosphere of a real theatrical game, sparkling with new energy and
infectious laughter, the director has to have an exceptional sense of humour and
rich fantasy. Dmitry Bertman seems to have both. The number of director’s
fancies in "Helikon’s" performance impresses one’s mind. The characters are
weaving intrigues both in figurative and literal (from ropes) ways. One of the
female characters turns out to be... Russian. Out of Figaro Dmitry Bertman has
made a.... Well, it is a secret yet.
Synopsis
FIRST ACT
First scene
Following a beautiful unknown girl, whom he accidentally had met in Madrid,
the Count Almaviva arrived in Seville under a name of Lindoro. His servant
Fiorello managed to find out the girl’s address. To entice Rosina from the house
the Count sings her a serenade at night, but all his efforts are in vain… The
Count pays off musicians.
The barber Figaro recently moved in Siviglia, enjoying wide popularity here.
By chance he is brought together with his former master – Almaviva. Fortunately
to the Barber the Count, as it turned out, is in love with Dr. Bartolo’s ward –
Rosina, and in this situation a person who can enter Doctor’s house may be
extremely useful!
Meanwhile Bartolo is away for a short while. A new serenade by “Lindoro”
turns out to be more successful than the first one. The Count demands from
Figaro to bring him in to Bartolo’s house. To this the Barber suggests him to
pretend to be a drunken soldier. After that he gives a long and confused
explanation about his address in Seville, but without success, as it seems.
Sums, promised by the Count for his service, makes Figaro to give himself up to
rosy dreams…
Second scene
Rosina is ready to run away with a splendid “Lindoro”, but how to do that? To
write a letter! Figaro, as usual, comes to offer his services to Rosina, but she
has no time to say a word about the letter as he disappears, hearing Doctor’s
steps.
Bartolo suspects that Figaro has come on purpose. He has heard that his ward
is noticed by the Count Almaviva and intends without delay to make Rosina his
wife tonight. A patient, that has come to him, a military musician Don Basilio,
works up a strategy of the battle: first, to defame an enemy spitefully, second,
immediately to make a marriage contract between Rosina and Bartolo. Their
conversation is overheard by Figaro: the girl should hurry up, if she does not
like to marry her guardian! Rosina gives the letter to the Barber, but Dr
Bartolo is already here and sets a trap to her, trying to catch her. The Count
disguised as a drunken soldier bursts into the house and tries to hand a letter
to Rosina. A fight begins between the Count and Bartolo. A noise draws attention
of a military patrol. After hearing to confused explanations from all who are
present, the Officer takes a decision to arrest the “soldier”. After a short
talk with a perspective prisoner tкteatкte, he changes his decision.
Nobody understands anything.
SECOND ACT
First scene
The Count again penetrates Bartolo’s house under a new mask to find a way to
Rosina’s heart. Disguised as Don Alonso, a faithful pupil of supposedly ill Don
Basilio, he gives the girl a singing lesson. Rosina performs an aria from a
popular opera “La Fille mal gardйe”. Old Bartolo does not approve of modern
music.
Figaro comes to shave the Doctor so that the lovers could talk without
trouble. Suddenly Don Basilio comes… A sum of money helps to diagnose scarlatina
with him and to suggest an idea to him to return home and receive medical
treatment. Rosina is going to escape with Almaviva at midnight, but Bartolo
again suspects of something and casts reproaches upon her. The servant Berta,
who has got tired of strange quarrels and shouts, dreams about
love…
Second scene
Dr. Bartolo and Don Basilio work up a plot: it’s necessary to convince
Rosina, that Lindoro has another lover and he is an agent sent to kidnap the
girl for the Count Almaviva. Rosina agrees to the immediate marriage to Bartolo.
At midnight sharp the Count appears, but Rosina meets her “Lindoro” not the way
that he has expected. To become reconciled with the girl Almaviva is forced to
reveal his real name. The time for escape is missed; Basilio, the Notary and
then Bartolo appear. Rosina’s kidnapping is cancelled. The Count has at once to
marry lawfully in presence of all witnesses.
Schedule for "Il Barbiere di Siviglia" G. Rossini 2022
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