The Barber of Seville (Rossini)

The Barber of Seville (original title in Italian, Il barbiere di Siviglia) is an opera buffa in two acts with music by Gioachino Rossini and Italian libretto by Cesare Sterbini, based on the comedy of the same name (1775) by Pierre-Augustin de Beaumarchais. The premiere, under the title Almaviva, or the useless precaution, took place on February 20, 1816, at the Teatro Argentina in Rome.

The plot recounts the adventures of a couple in love made up of the Count of Almaviva and the young orphan Rosina. Bartolo, the girl's tutor, also wants her despite her age difference. To avoid this, the couple enlists the help of the barber Figaro, who through entanglements deceives Bartolo and manages to unite the lovers in marriage. Three arias stand out in the opera: Largo al factotum, Una voce little fa and La calunnia.

Rossini's The Barber has proven to be one of the great masterpieces of comedy within music, and has been described as the opera buffa of all opera buffas. Even after two hundred years, his popularity on the modern opera scene attests to his greatness. It was one of the first Italian operas to be performed in the United States, opening there at the Park Theater in New York on November 29, 1825.

History

	«The calunnia è un venticello» Interpreted by Fiódor Ivánovich Shaliapin.
Problems when playing this file?

Background

Other works on the same theme were written previously: Paisiello's The Barber triumphed for a time over Rossini's. Also in 1796 Nicolas Isouard composed another. In the end, Rossini's later version is the one that has best stood the test of time and is the only one that remains in the repertoire. Since its premiere in 1883, there have been 820 performances at the Metropolitan Opera in New York alone.

Portrait of Rossini

Rossini's opera recounts the first of the works of the Figaro trilogy, by French playwright Pierre Beaumarchais, while Mozart's opera The Marriage of Figaro, composed thirty years earlier in 1786, is based on the second part of the Beaumarchais trilogy. Beaumarchais's original version was premiered in 1775 in Paris, at the Comédie-Française in the Tuileries Palace.

Rossini was well known for being very productive, composing about two operas a year for 19 years, and in some years he composed four. Rossini had promised to write two operas for the carnival of Rome in 1816. The first was finished on December 26, 1815, and on the same day he began to compose the second, which was ready on January 20, 1816, without any knowledge What would the script be? Sterbini provided him with the story of the barber, and as soon as he delivered the verses, Rossini began to write the music, which was completed in less than three weeks. Its original title was Almaviva, that is, the useless precaution to distinguish it from The Barber of Seville by Paisiello.

The original overture was somehow lost and replaced by the one he had used in his previous operas Aureliano in Palmira and Elizabeth, Queen of England. In the scene under Rosina's balcony, the tenor Manuel García introduced a Spanish aria of his own which was a failure, so before the second performance Rossini wrote the beautiful cavatina Ecco ridente in cielo which replaced it, taking the melody from the initial chorus of Aureliano and which in turn was originally from his other opera Ciro en Babilonia. The theme of his effective trio Zitti, zitti was taken from Haydn's The Seasons, and the aria sung by the servant Berta (Il vecchiotto cerca moglie) of a Russian tune he had heard sung by a lady in Rome. For the music lesson scene, Rossini wrote a trio that has been lost, thus giving the singers in charge of the role of Rosina the opportunity to interpret what they prefer.

Representations

Classic scene

The first performance of The Barber took place on February 20, 1816 at the Teatro Argentina in Rome. It was a resounding failure: the audience hissed and booed, and several accidents occurred on stage. One of the singers took a wrong step and fell in the middle of the stage causing everyone to laugh. On the other hand, one of the musicians broke a string on his instrument while playing, and as if that were not enough, a cat suddenly jumped in the middle of the stage. Rossini preferred to retire and shortly after stated: "I had to flee before the attitude of an unbridled public. I thought they were going to kill me". The main cause is that many in the audience were supporters of one of Rossini's rivals, Giovanni Paisiello, who had already composed an opera entitled The Barber of Seville and took Rossini's new version as an affront. staff. Paisiello used the mob mentality to provoke the rest of the audience into disliking the opera. In particular, he and his followers were opposed to the use of the bajo bufo, which is common in comic opera.The second performance met with a very different fate, becoming a resounding success. It is curious to note that the original French-language play, Le Barbier de Séville, had a similar story, hated at its premiere only to become a favorite just a week later.

The contralto Geltrude Righetti Giorgi was the first Rosina in history, while the role of Count Almaviva was assigned by Rossini himself to the great Spanish tenor Manuel García. The role of Figaro was played by Luigi Zamboni.

In Spain it premiered in 1818, at the Teatro de la Santa Cruz in Barcelona, and was the first opera to be performed in Argentina, on October 3, 1825, by a group of singers who were performing in Brazil and they were hired by President Bernardino Rivadavia. It appeared in the first season of the Teatro Colón in 1908, with a cast led by Titta Ruffo and Fiódor Shaliapin, and it was performed in 32 seasons, making it the sixth most popular opera in the History of the Buenos Aires Coliseum.

The Barber of Seville remains one of the most popular operas; in Operabase's statistics it appears no.

The very popular overture to this opera is often played as a concert piece. Its cheerful, sparkling and humorous character prepares the public for the amusing circumstances and intricacies of the plot. Its music had been used by the composer as an overture to two previous operas. However, it has remained permanently linked to this one, one of his masterpieces.

The overture was also used as a march by the Mexican Army war band in the time of General Santa Anna. The aria Largo al factotum is also well known, performed by Figaro and which shows the importance attributed to this character in the work.

The role of Rosina, though written for a coloratura alto, and most often sung by a coloratura mezzo-soprano in the past and occasionally, in more recent times, transposed by coloratura sopranos such as Marcella Sembrich, Maria Callas, Roberta Peters, Gianna D'Angelo, Victoria de los Angeles, Beverly Sills, Lily Pons, Diana Damrau, Kathleen Battle, Luciana Serra and Isabel Leonard. Famous mezzo-sopranos who have recently sung the role of Rosina include Marilyn Horne, Teresa Berganza, Lucia Valentini Terrani, Cecilia Bartoli, Joyce DiDonato, Jennifer Larmore, Elīna Garanča and Vesselina Kasarova. The most famous contraltos who have sung the role of Rosina have been Fanny Anitúa and Ewa Podleś.

Characters

Plot

The Russian baritone Mikhail Karakash (1887-1937) as Figarus.

Fiódor Ivánovich Shaliapin as the intriguing Don Basilio.

Place: Seville, Spain.

Epoch: 18th century.

Act I

Square in front of the house of doctor Bartolo, in Seville

In a public square outside old Doctor Bartolo's house, a brass band and a poor student named Lindoro are serenading, to no avail, outside Rosina's window (Ecco ridente in cielo - "Here, laughing in the sky"). Rosina is a ward of the doctor and he wants to marry her. Lindoro, who is actually the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself and not for his titles or her money. Almaviva pays the musicians when they leave, leaving him sad and lonely.

Fígaro, who boasts that he is the most famous barber in Seville and that this opens all doors for him, approaches singing (Aria: Largo al factotum della città - "Make way to the handyman of the city"). Taking advantage of the fact that Figaro was in the past a servant of the Count, he asks for his help to meet Rosina, offering him money in case he manages to fix it. (Duet: All'idea di quel metallo - "To the idea of that metal"). Figaro advises the Count to disguise himself as a drunken soldier, to serve as a pretext for Dr. Bartolo to give him lodging in his house, taking refuge in the legal obligation that fell on citizens to welcome the troops when they moved. Figaro is handsomely rewarded for this suggestion.

Doctor Bartolo's house

The scene begins with Rosina's cavatina: Una voce poco fa - "A little voice recently". (This aria was originally written in the key of E major for a mezzo-soprano voice, but it is sometimes transposed a semitone up to F for coloratura sopranos to play, giving them the opportunity to sing extra slightly traditional cadences sometimes reaching high res or even fas, as in the case of Diana Damrau's performances.)

Rosina writes a letter to Lindoro. As she is leaving the room, Dr. Bartolo and D. Basilio, a music teacher, enter. He tells her about the arrival in Seville of the Count of Almaviva who was secretly in love with Rosina. Bartolo suspects the Count and intends to sign the marriage certificate with Rosina that same day, and Basilio advises him to get rid of the Count by creating false rumors about him (this aria, La calunnia è un venticello - "Slander is a little breeze" almost always sung one tone lower than the original in D major).

When the two have left, Figaro enters the house and meets with Rosina. Figaro asks Rosina to write a letter to Lindoro and he will send it to her. (Duet: Dunque io son…tu non m'inganni? - "So I'm the one who... aren't you kidding me?"). Although surprised by Bartolo, Rosina manages to trick him, but he remains suspicious. (Aria: A un dottor della mia sorte - "To a doctor like me").

As Dr. Bartolo's servant, Berta, tries to leave the house, she runs into the Count disguised as a drunken soldier. Fearing this drunk, Berta rushes to Bartolo in search of protection and tries to drive the alleged drunk away, but she is unsuccessful. The Count gets a few words with Rosina, whispering to her that he is Lindoro and hands her a letter. The watchman Bartolo is suspicious and demands to know what that piece of paper is in Rosina's hands, but she tricks him by handing him the laundry list. Bartolo and the Count begin to argue and, when Basilio, Figaro and Berta appear, the noise attracts the attention of the guard officer and his men. Bartolo believes that the Count has been arrested, but Almaviva only has to mention his name to the officer to be released. Bartolo and Basilio are amazed and Rosina makes fun of them. (Final: Fredda ed immobile - "Cold and immovable").

Act II

Doctor Bartolo's House

Almaviva again appears at the Doctor's house, this time disguised as a singing student and pretending to act as a substitute for his supposedly sick teacher Basilio, Rosina's usual music teacher. Initially, Bartolo is suspicious, but allows Almaviva to enter when the Count gives him Rosina's letter. In it, Bartolo's plan to discredit Lindoro who he believes is a servant of the Count and intends to get women for his master. In order not to leave Lindoro alone with Rosina, Doctor Bartolo has Figaro shave him. (Quintet: Don Basilio! — Veggo thing! - "Don Basilio! — What do I see?").

When Basilio suddenly appears, he is bribed with a bag of Almaviva to pretend to be sick. Finally Bartolo detects the trick, throws everyone out of the room and rushes to a notary to draw up the marriage contract between him and Rosina. He also shows Rosina the letter she wrote to "Lindoro", and convinces her that Lindoro is merely a servant of Almaviva.

The scene empties as the music creates a storm. The Count and Figaro climb a ladder to the balcony and enter the room through the window. Rosina shows the letter to Almaviva and expresses her feelings. Almaviva reveals her identity and the two declare their love for each other. While Almaviva and Rosina are absorbed in each other, Figaro urges them to leave. Two people are heard approaching the door, and trying to escape by the stairs, they realize that it has been removed. Those who approach are Basilio and the notary. Basilio has to choose between accepting a bribe and being a witness or taking two bullets to the head (an easy choice, he says). He and Figaro sign as witnesses the marriage contract between the Count and Rosina. Bartolo enters but it is too late. The stunned Bartolo (who was the one who had removed the ladder) is calm when he is allowed to keep Rosina's dowry.

Instrumentation

Rossini's score provides for the use of:

• 2 flutes (also ottavini), 1 oboe (2 oboes only in the symphony), 2 clarinets, 2 fagotes
• 2 trumpets, 2 trumpets and 3 trumpets (only in the symphony)
• Timpani (only in the symphony), pump, sistro
• Guitar
• Pills

For recitatives:

• pianoforte (violonchelo and bass ad libitum)

Famous arias

• Long al factotum - Fígaro: It's possibly the best-known fragment.
• Ecco ridente in sky - Almaviva Count Serenade
• A little voice - Rosina.
  
• Dunque are they? - Duo de Rosina y Fígaro
• The calunnia and a venticello - Don Basilio
• I got a cor - Rondó de Rosina
• Cessa di piú resistere - Almaviva
• Di sì felice innesto - Everybody.

Selected discography

This is a partial discography of Barber of Seville.

Audio

Video and DVD

• 1956: Tito Gobbi (Fígaro); Corradi (Rosina); Tagliavini; De Taranto; Tajo (Basilio); Opera of Rome;Morelli
• 1959: Hermann Prey, Erika Köth, Fritz Wunderlich, Hans Hotter, Max Proebstl, Orchestra of the Bavarian State Opera, Joseph Keilberth, in German. Legato Classics. VHS
• 1972: Hermann Prey; Teresa Berganza; Luigi Alva; Dara (Bartolo); Montarsolo (Basilio); Orchestra and choir of La Scala; Jean Pierre Ponnelle - Claudio Abbado. DG VHS/DVD
• 1982: John Rawnsley; Maria Ewing; Cossotti; Deri (Bartolo); Ferruccio Furlanetto (Basilio); Orchestra and choir of the Glyndebourne Festival; Cambrelling (director); Cox (director); Heather (director of the video). Castle VHS/Warner DVD
• 1987: Leo Nucci; Kathleen Battle; Blake; Dara (Bartolo); Ferruccio Furlanetto (Basilio); orchestra and choir of the Metropolitan Opera; Weikert (director), John Cox (director); Large (Video Director) DG VHS/DVD
• 1988: Gino Quilico; Cecilia Bartoli; Kuebler; Feller (Bartolo); Lloyd (Basilio); Coro de la opera de Colonia/Orquesta sinfónica de la radio de Stuttgart; Ferro (director); Hampe (director); Viller (director of the video). RCA VHS/Art Haus Musik DVD
• 1992: David Malis; Jennifer Larmore; Richard Croft; Opera of the Netherlands; Alberto Zedda (director); Hulscher (director). Image DVD
• 2001: Manuel Lanza, Vesselina Kasarova, Reinaldo Macias, Carlos Chausson, Nicolai Ghiaurov, Zurich Opera, Nello Santi
• 2002: Dalibor Jenis, Joyce DiDonato, Roberto Sacca, Carlos Chausson, Kristinn Sigmundsson, Opera of Paris, Bruno Campanella.
• 2005:Pietro Spagnoli, María Bayo, Juan Diego Flórez, Ruggero Raimondi, Bruno Pratico, Teatro Real de Madrid, Emilio Sagi, Gianluigi Gelmetti
• 2008: Rinat Shaham (Rosina); Francesco Meli (Conde); Roberto Frontali (Fígaro); Antonino Fogliani (director); Bepi Morassi (director); orchestra and choir of the La Fenice Theatre in Venice. Dynamic (discographic) Cat.33597
• 2010: Simon Keenlyside, Joyce DiDonato, Juan Diego Flórez, Ferruccio Furlanetto, Alessandro Corbelli, Covent Garden, Antonio Pappano (director). Virgin Classics. DVD.