"The Barber of Seville" - this is the name of the most famous opera, at least one melody from which is familiar even to those who are not versed in operatic art people ... more precisely, under this name it is staged in theaters now, the author himself gave it a different name - “Almaviva, or A futile precaution". The young composer showed in this way respect for the famous older contemporary.
The choice of plot for the new opera turned out to be almost accidental. In 1816, the composer received an order from the Argentino Theater in Rome - he had to create an opera for the carnival. He offered story after story, but the censors didn't like them all. And time passed - of course, he always knew how to work quickly, but still he has a limit! Finally, the plot, which did not arouse objections from the censors, was found - it was the comedy of P.O. Beaumarchais “The Barber of Seville, or Vain Precaution”. But several operas had already been written on the basis of this play - L. Benda in 1782, I. Schultz in 1786, N. Izuar in 1797 turned to her. But the opera of the same name by G. Paisiello, first staged in 1782 in St. Petersburg. Therefore, before taking up the opera based on the comedy by P.O. Beaumarchais, he asked permission from the famous composer. He agreed without hesitation - G. Paisiello was not afraid of rivalry, sincerely believing that the young composer could not be a worthy competitor to him, that his opera would certainly fail ... he was not destined to see how wrong he was.
The libretto for the opera Almaviva, later called The Barber of Seville, was written by Cesare Sterbini. He had not yet completed work on the text, when the composer had already begun to create music. The time it took to create the piece seemed unbelievable even for thirteen days.
The well-known overture - cheerful, sparkling - so remarkably matches the spirit of P.O. Beaumarchais's comedy that today it is already hard to believe that it was originally connected with a completely different plot, and at the premiere of The Barber of Seville, the audience listened to a completely different overture. Paying tribute to the scene, he created a kind of potpourri on the themes of Spanish folk dance melodies - but that overture disappeared after the premiere at unclear circumstances. The composer did not write it again, but replaced it with an overture to one of his previous operas - "A Strange Case". Now it is forgotten, and the overture fits perfectly into The Barber of Seville.
Almaviva, after whose name the opera was originally named, is a traditional lyrical hero suitable for a tenor - by no means the most bright character operas. Figaro looks like the true protagonist. “That I must have a very spoiled taste, since this Figaro seems to me much more attractive than Mozart's,” G. Hegel admitted. The philosopher lamented in vain: - one of the best baritone singers of the 20th century, who by no means can be suspected of lacking musical taste - Rossini's Figaro also liked Rossini's Figaro more than Mozart's. And, of course, you can't help but love his famous cavatina. In this extremely energetic aria, six themes follow each other, without obeying any traditional scheme. Figaro's entry becomes even more spectacular thanks to the forty bars of the introduction leading up to the cavatina.
Baritones love to perform Figaro's Cavatina in concert no less than sopranos love Rosina's aria... meanwhile, he intended this part for another voice - a coloratura mezzo-soprano. This did not really please his contemporaries, who reproached him for making a “boy-woman” out of a tender young heroine. However, Rosina does not look like a very well-bred prude. In the famous aria, she discusses how submissive wife she will be to her chosen one - unless, of course, he will argue with her ... it is not difficult to believe this when listening to her decisive coloratura!
The negative characters are no less vividly depicted in the opera - the grouchy Dr. Bartolo, the hypocrite and hypocrite Don Basilio. His aria about slander is another of the most popular pages of the opera: at first insinuating, it gradually acquires a formidable sound, however, this menacingness remains comical.
The Barber of Seville opera is so loved today by both the public and performers who love not only to present it in the theater, but also to sing arias from it in concerts, that it is already hard to believe what it is. beautiful work could fail. However, this happened at the premiere held in February 2016. It was not the fault of the performers or the composer who conducted that evening - the fact is that the renaming of The Barber of Seville into Almaviva did not save G. Paisiello's fans from dissatisfaction, and they made a noise in the hall, which did not contribute to a successful performance. At subsequent performances, the audience received the opera much better, and yet the trace of the failed premiere was reflected in the fate of the opera for a long time to come. But time put everything in its place: The Barber of Seville became one of the most repertoire operas. The creation of the same name by G. Paisiello is now forgotten, and the composer himself, a little more than three months after the premiere of Rossini's masterpiece, did not see the triumph of this opera, which continues to this day.
Music Seasons
D. Rossini opera "The Barber of Seville"
The Barber of Seville is Rossini's brilliant comedy opera based on play of the same name famous playwright Beaumarchais. The work captivates with wit, virtuoso vocal parts and unexpected plot twists inherent in the traditional operatic style of Italy. Opera is saturated funny adventures, intrigues and emotions, and the music is full of grace, freshness and impetuous temperament.
"The Barber of Seville" is a melodic work that sings of tender love feelings, activity and resourcefulness, the opera is of great social importance because it ridicules pretense, debauchery and hypocrisy.
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Characters |
Description |
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| Almaviva | tenor | Count in love |
| Figaro | baritone | barber, longtime friend of Count Almaviva |
| Bartolo | bass | MD, Rosina's guardian |
| Rosina | soprano | pupil of Bartolo, beloved of Count Almaviva |
| Basilio | bass | music teacher |
| Bertha | soprano | housekeeper at Bartolo's house |
| Ambrogio | bass | Bartolo's servant |
Overnight in the Spanish city of Seville. Enamored Count Almaviva, surrounded by musicians, sings a serenade at the balcony of the beautiful Rosina. The nobleman hides his title of nobility under the costume of a simple bachelor in order to win a clean, selfless love young girl. The Count's efforts are futile, as Rosina is under the strict control of her guardian, Dr. Bartolo. The old man is incredibly greedy, and keeps his unfortunate pupil imprisoned in order to later marry her and receive a considerable dowry.
Suddenly, his old acquaintance, the merry fellow Figaro, approaches the count. The joker promises to keep Almaviva's secret and tells his story to the sad lover. Figaro lost his position as a veterinarian due to his literary fame and, due to increased competition in creative environment, the cheerful writer is forced to turn into a wandering barber.
Figaro's worldly wisdom and wit captivates and inspires incredible deeds, so enterprising comrades decide to go for a trick. Having learned about the temporary absence of Bartolo, Almaviva again sings a love serenade and this time introduces herself as a kind of Lindor. Rosina is supportive of the stranger, however, having heard footsteps in the house, she hastily leaves.
Now the action is moving faster. According to the plan of his comrades, Almaviva must play the role of a drunken soldier assigned to stay with Bartolo. Figaro, being a barber and an experienced doctor, enters the house of the jealous Bartolo. The entertainer will have to distract the servants.
Bartolo's house. Rosina, in love, writes a love letter to the mysterious youth Lindor. Don Basilio informs Bartolo about Almaviva's passionate feelings for his pupil. Upon learning the bad news, the elderly womanizer locks the girl in a room to keep the situation under control.
Almaviva appears in the form of a drunken soldier. Bartolo refuses to accept the stranger for a stay, as a result of which a quarrel flares up. Hearing loud screams, an officer enters the house with the intention of arresting the violent insolent. However, after hearing his name from the Count, the officer leaves.
The next time, Almaviva appears before Bartolo in the form of a music teacher, temporarily replacing Basilio. During the lesson, the "teacher" sings along with Rosina, but Bartolo does not like this duet. Suddenly, Figaro arrives and offers the doctor a shave. While Bartolo is busy with the hygiene procedure, the count convinces his beloved to run away with him. Basilio appears, but Almaviva imperceptibly bribes the teacher and invites him to go home "for treatment". Bartolo senses deceit and drives out the tricksters.
Second floor of the Bartolo house. The count in love, accompanied by Figaro, enters the house through the window, Almaviva shows his true face to his beloved and persuades her to run away. The doctor foresaw this course of events, he removed the ladder along which the friends climbed to his pupil, and went for a lawyer to immediately get engaged to her.
Basilio and the notary appear at Bartolo's house. The Count bribes both to marry the girl before the doctor arrives. The marriage took place. Furious Bartolo returns with the guard. Seeing the marriage contract, the old man resigns himself to his fate. Almaviva announces the renunciation of the dowry of his young wife and, to the solemn motives of the aria of reconciliation, the performance ends.
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Interesting Facts
- Pierre Augustin Caron de Beaumarchais wrote a series of three works about "Figaro": "The Barber of Seville", " Wedding of Figaro and "Criminal Mother". Later, the whole trilogy was transferred to the opera stage.
- The work "The Barber of Seville" according to Rossini differs significantly from the original. Unlike Bormashet's comedy, written in the French pre-revolutionary style, the composer's libretto does not contain rhetorical philosophy and political satire. Rossini's "barber" is the embodiment of democratic national theater with naive humour, fun and comedy. The image of the decisive Rosina is somewhat softened, and the self-confident Count Almaviva appeared before the viewer as a traditional lyrical hero.
- The Barber of Seville is one of the first operas staged by the Bolshoi Theater after the evacuation during the Great Patriotic War. However, the advantage of foreign opera to the detriment of domestic musical works became a reason for condemnation of the theater management and significant personnel changes.
- Initially, the opera "The Barber of Seville" had a different name: "Almaviva or Vain Precaution".
- During the premiere of the opera, ill-wishers condemned the author. In addition, a number of unpleasant accidents seemed to contribute to its failure. So, Don Basilio injured himself on the stage during a fall, Almaviva broke a string while performing a serenade, and at some point a cat suddenly appeared on the stage. During the next production, the auditorium was packed. The audience wanted to have fun and see the cascade of absurdities again. However, this time the performance literally amazed the audience, who loudly applauded each aria. Rossini was proud of the success of The Barber and spoke out about the fact that even the most ardent opponents of operatic innovations fell in love with his opera.
- Thanks to the cartoon "Seville Rabbit" released by Warner Bros. in 1950, television viewers were able to hear the overture from the opera on their television screens, which made the music of Gioacchino Rossini even more popular.
- Italian composer Giuseppe Verdi was delighted with the brightness of ideas and the sound of Rossini's opera, considering it the best piece of music in the opera buffa style.
- At the end of the work, the melody of an old Russian folk song sounds: "Ah, why would you fence the garden." Of course, the rhythm of the song is changed, but the motive can be recognized as a Russian melody.
- The Barber of Seville is one of the most famous operas Rossini. Thanks to this work, the Italian composer won European fame, and his penchant for song inspired melodies became the basis for the honorary title of "Italian Mozart". Rossini from a young age admired the talent of the great Austrian composer, while writing his creations, he transferred the achievements of Mozart to theatrical art Italy, borrowed the skill of the opera ensemble. Therefore, the opera-buffa "The Barber of Seville" contains not only traditional operatic techniques, it is also enriched with innovations and cutting-edge ideas. Rossini's cheerful nature was also admired by Heinrich Heine, who called the composer the "Divine Maestro".
Popular arias and numbers:
Overture (listen)
Cavatina Figaro "Largo al Factotum" (listen)
Rosina's Cavatina "Una voce poco fa" (listen)
Rosina's aria (lesson scene) "Control un cor" (listen)
Berta's aria "Il vecchietto cerca moglie" (listen)
Almaviva's canzone "Se il mio nome saper voi" (listen)
History of creation
The Barber of Seville has an interesting backstory. According to the contract with the Roman theater, Gioacchino Rossini undertakes to write a new opera. The piece of music is dedicated to the carnival. All the provided versions of the libretto did not withstand the criticism of the censors, therefore, on the eve of the holiday, the famous playwright remembered comedy play Bormash, repeatedly played on the Italian stage. In order not to disrupt the signed contract, Rossini decides to take the plot as a basis famous work. Having received permission from the censors, the composer set to work.
It took the musician only 20 days to create a comedy opera based on the first part of the famous trilogy.
The premiere took place on February 12, 1816. The first performance was a fiasco and was booed by an outraged audience. The fact is that a masterpiece opera based on the plot of the play by Bormashe has already been created by a respected Italian composer Paisiello. The writing of another opera with a similar plot was considered by the audience to be unforgivable insolence and disrespect towards the elderly playwright. Paisiello's fans made an unprecedented scandal. After the first production, the composer had to run away.
Despite loud scandal around the premiere, the opera The Barber of Seville was a resounding success. The unprejudiced public highly appreciated the work and even organized a triumphant torchlight procession to the house of Rossini, who did not dare to come to the performance.
The popularity of "The Barber of Seville" Rossini surpassed any expectations. Performances were successfully staged in many European countries, and the performance involved outstanding opera singers. The composer combined the best features of Italian opera and created fertile ground for the further rapid development of musical art. Emphasizing the traditional style of opera buffa, Rossini retained the act structure of the work with rapid dynamics, alternation of song numbers and typical everyday conflict.
Lectures on Musical Literature : Rossini
The work of Rossini (1792-1868) developed at a turbulent time when a backward, disunited Italy, under the triple yoke of Spain, France and Austria, embarked on the path of a national liberation struggle. The revolutionary atmosphere revived all areas of Italian art, including the opera house. He became a real platform for the promotion of advanced ideas. A new opera school emerged to reflect these ideas. Rossini stood at its origins. Summarizing all the best in the Italian opera of the 18th century, it was he who created the basis for its further fruitful development.
For my creative life Rossini wrote 38 seria and buffa operas. By the beginning of the 19th century, both of these genres were in a state of decline. The opera seria was in the grip of numerous obsolete stamps. The audience, above all, appreciated vocal virtuosity, so the composer had to please all the main performers. Opera buffa was more viable, but there was also an unhealthy bias towards mindless entertainment. Thanks Rossini Italian opera regained its former glory.
By nature, Rossini was unusually generously gifted: he was handsome, charming and witty, had a wonderful voice, composed with incredible ease (“The Barber of Seville” was written in 18 days) and in any situation.
He debuted as opera composer in 1810 by the opera "Promissory note for marriage". In a short time gained immense popularity. She was noted by Pushkin in "Eugene Onegin": "delightful Rossini, Europe's minion, Orpheus." Most fruitful years composer activity The Rossinis are connected with Naples, with the San Carlo Theatre. The Barber of Seville, the composer's finest work in the buffa genre (1816), was written here. Along with The Barber of Seville, Rossini's highest creative achievements include "William Tell". The composer created it in 1829 while already living in Paris. The new masterpiece was completely different from the previous one. Based on the folk legend about national hero Swiss people Rossini created the first folk-patriotic opera of the romantic era.
After William Tell, the composer did not compose any more operas, although he lived for another 40 years. Among the few compositions created in the second half of his life, two spiritual works stand out - "Stabat Mater" and a grandiose Mass.
"The Barber of Seville"- one of the best comic operas - was written in an amazingly short time for the New Year's carnival in Rome. The opera was composed and rehearsed almost simultaneously. True, the composer partially used the material of his more early works, but the originality and freshness of the opera did not suffer from this.
The basis plot the first part of the famous Beaumarchais trilogy about Figaro - "The Barber of Seville or the Vain Precaution" - was laid. Many operas were written on this subject before Rossini. Among them, by far, the most popular was Paisiello's opera. Its success was so great that Rossini's decision to use the same plot was considered by many to be audacity.
Premiere opera failed. Supporters of Paisiello organized a scandal unprecedented in the history of the opera house. Afraid of being booed by the temperamental Italian audience, Rossini fled after the first act. However, the very next performance, which was attended by an ordinary, not prejudiced audience, brought the new opera a well-deserved success. The audience even staged a torchlight procession to the house of Rossini, who this time, just in case, did not come to the production.
Very quickly, the "Barber of Seville" was recognized in other European countries, including Russia. Until today it is one of the most repertoire operas. The most outstanding singers of the world participated in its performance, for example, F. Chaliapin in the role of Basilio.
Libretto operas were written by Cesare Sterbini. It differs markedly from the French original. Sometimes they write that the political tendencies of Beaumarchais's play turned out to be somewhat smoothed out in the opera. This is only partly true. In the opera, indeed, there is no social satire of the French comedy. The creators of the opera deliberately emphasized in it what seemed to them more important for the Italian public. Unlike France on the eve of the revolutionary coup of 1789, in Italy early XIX centuries, class contradictions were not so sharply expressed. In the national liberation movement, all classes of Italian society during this period acted together. Ideological orientation Comedy Beaumarchais took a slightly different turn close to Rossini. He created not an anti-feudal satire, but a typical Italian theater comedy of manners. His music emphasized the comedy of plot points, cheerful humor, and, most importantly, very accurately revealed the characters' characters and even their outward habits.
The opera glorifies vital activity and enterprise, the tender feelings of lovers, and ridicules hypocrisy and hypocrisy - this is its progressive meaning.
Genre operas - buffa, consummate master which was Rossini. Here he felt most natural: it is known that creative success in the comedy field were given to him much easier than in the heroic art. Rossini's art is synonymous with fun and effortless wit in music. In the incredible speed with which The Barber of Seville was written, happy correspondence of the nature of the composer's talent with the chosen plot, its images and genre. They seem to be made for each other.
Rossini emphasized national traditions operasbuffa:
1 . A typical everyday conflict and images of characters reminiscent of the heroes of an Italian folk comedy: the happiness of a couple in love is hindered by a bore-guardian who dreams of a considerable inheritance for his pretty ward. He is helped by an old friend - a petty scoundrel and a hypocrite. And on the side of the lovers - a clever and resourceful servant, similar to many smart servants who are much more enterprising than their masters (for example, Truffaldino from Goldoni's comedy "The Servant of Two Masters"). I also remember the characters of the first buffa opera - Pergolesi's Maid-Maid. You can draw distinct lines from Serpina to Rosina, from Uberto to Bartolo.
2 . Traditionally, the alternation of song numbers (solo and ensemble) with secco recitatives.
3 . The 2-act structure typical of buffa with characteristic final ensembles and the rapid dynamics in the development of the action are also preserved: events unfold with extraordinary speed, there is nothing superfluous, everything leads to the goal. Rossini knew how to build the action in such a way that the listener's interest did not weaken for a minute, growing all the time, it was not for nothing that he was called the "crescendo maestro".
4 . From tradition comic opera there is also a nationality musical language, reliance on genre and everyday forms (from tarantella to waltz). In the finale, the melody of the Russian folk song “And it was to fence the garden” passes.
At the same time, the composer not only repeated the traditional techniques of the old buffa opera, but updated and enriched it. His greatest merit was the transfer to Italian soil of Mozart's operatic achievements.
Rossini adored Mozart, collected a collection of his portraits. His statement is known: "Beethoven is the first of all for me, but Mozart is the only one." In one of Mozart's portraits, Rossini wrote: "He was an idol in my youth, a despair in my maturity and a consolation in my old age."
The main thing that Rossini borrows from Mozart is the skill of the opera ensemble.
1 . The ensemble, like the recitative, becomes the focus of the action. A prime example such an effective ensemble is the finalIactions. Typically buffoonish, it is filled with many confusions and misunderstandings: Almaviva, dressed in a cavalry suit, comes to Dr. Bartolo's house and makes a real brawl. An incredible turmoil begins, built on the gradual inclusion of all the characters, and at the same time everything fits into an impeccably slender form.
2 . And just like in Mozart, even in the complex ensemble interweaving of voices, the characters of the characters are clearly distinguished. In the same finale of Act I, each of the characters receives an individual description: the appearance of Almaviva is accompanied by an exaggeratedly loud, parodic march; Basilio is characterized by comic solfegging, Figaro by dance rhythm.
The Barber of Seville is dominated by virtuoso solo singing. Rossini never abandoned the main "weapon" of the Italian opera house - all parts of the opera are saturated with virtuosity. However, with amazing skill, he managed balance decorative beginning with expressive, psychological: coloratura is not an end in itself, it serves to create bright musical portraits of actors.
Main feature Figaro- "buoyant" cheerfulness and inexhaustible optimism. Rossini built it musical characteristic on lively dancing and energetic marching. His party is dominated by fast tempos and clear rhythms. All the main properties of Figaro's character are contained in his very first number - the famous cavatine from picture I. It resembles a temperamental, incendiary Italian tarantella: elastic, emphatically pulsating rhythm; non-stop patter in the vocal part (technically very difficult), rapid movement.
Despite the fact that the play is French and the action takes place in Spain, the image of Figaro can be considered a very vivid manifestation of national start in music. If you put Rossini's Figaro next to Mozart's, it is not difficult to clearly feel the difference in their characters. Figaro Rossini has a real southern temperament, he speaks incessantly, and in this impetuous tongue twister one can hear the intonations of temperamental Italian speech.
In form, the cavatina is a free composition based on several themes, the implementation of which is not subject to any traditional schemes. The orchestra plays an important role.
Throughout the opera, Figaro performs in different situations by interacting with other characters. There are new touches that complement this image, but they hardly change it. qualitatively.
Rosina- not only an "imaginary simpleton", as in Paisiello's opera, but a girl fighting for her happiness. Rossini emphasized new feature the main female image, entrusting the part of Rosina to the coloratura mezzo-soprano. Rosina is beautiful, cheerful, and although she is enclosed by her guardian within four walls, woe to the one who angers her. In her very first aria, she declares that she is meek only up to certain limits. If Rosina wants something, she will be able to get her way.
Rosina's main number is her cavatina from the 2nd painting "In the Silence of Midnight", which contains a description of different sides of her appearance. There are 3 parts in it: I-I - cantilena, light - conveys the girl's dreaminess; II-I is based on graceful danceability (“I am so meek”); Part III (“But hurt yourself”) shines with virtuosity.
Graph Almaviva - a lyrical character, a young and passionate lover, and not a dissolute feudal lord, as in the comedy of Beaumarchais. The basis of its characterization is the lyrical cantilena, adorned with virtuosic graces that are typical of the bel canto style. These are, first of all, the two “serenades” performed by Almaviva under the windows of Rosina in the 1st scene: the cavatina “Soon the East will shine brightly with gold at dawn” (the first portrait characteristic of this character) and the canzone “If you want to know”. Their music is close to lyrical Italian songs: rounded, plastic intonations, couplet form.
In the future, it is with Almaviva that the scenes of “dressing up” typical of the buffa genre are associated. He appears now in the form of a drunken soldier (the finale of act I), now as a bachelor - a singing teacher, a student of Don Basilio (duettino with Bartolo at the very beginning of act II), then in his true quality as a wealthy aristocrat (at the end of the opera). For each of the reincarnations, Rossini finds his own "zest", an expressive bright touch. So, Almaviva the soldier is characterized by a comedic-militant march. Almaviva, a young priest, importunately sticks to Bartolo, repeating short psalmodic remarks in different ways. Almaviva - a noble nobleman is endowed with a brilliant virtuoso aria.
In characterizing negative characters, Rossini's wit sometimes takes on satirical forms. Such is the famous aria about the slander of Don Basilio, which encloses the whole life philosophy(praise meanness). It is based on the gradual increase of one theme. Insinuating at first, carefully creeping upwards, the melody seems to “swell” with each swipe. It is accompanied by a relentless dynamic and orchestral crescendo, culminating in thunderous climaxes ("and like a bomb explodes"). Basilio, expounding his "theory of slander", is absolutely serious, like the hero of an opera seria, but in this situation his ardor produces a comedic effect. Like Figaro's cavatina, the slander aria is built freely.
Bartolo is characterized mainly in ensemble numbers and a small arietta stylized as an old cutesy love song.
With a leading role vocal start in The Barber of Seville the importance of the orchestral part is exceptionally great. The orchestra helps to emphasize the comedy of this or that situation, to clarify the subtext, to make the character's characterization more expressive. The main orchestral number of the opera is a picture of a thunderstorm from 4 pictures.
Among them: "Italian in Algiers", "Othello", "Cinderella", "Thieving Magpie", "Moses in Egypt".
Rossini lived in Paris from 1824. After the death of the composer, his ashes were transported to his homeland, buried in Florence next to Michelangelo and Galileo.
4 sections of the finale in character, the ratio of tempos and keys resemble 4 parts sonata-symphony cycle. IN fast I"parts" the main action takes place - the count, Bartolo, Rosina, Basilio appear. Part II, like the scherzo, is playful and impetuous. This is the exit of Figaro, who allegedly wants to calm everyone down, but as a result of his actions, a military patrol comes to the house. What follows is a moment of general amazement - like a slow, melodious third movement. The final section, where everyone comes to their senses and expresses conflicting feelings, serves as a quick final denouement.
In modern productions, her part is performed by a coloratura soprano
On one of the streets of Seville, the count is waiting for the moment when a thing intended for his love will appear from the window. The count is very rich, so he did not see true love, most of the ladies coveted his money and possessions, but this time, he hides his real name in order to still get true love. Rosina, with whom the count is in love, is locked up by her guard, who does not hide his feelings and is ready to do anything to get her to marry him.
The Count accidentally meets his old acquaintance - Figaro, who tells him his life story, promising not to reveal the Count's secret. Figaro was a veterinarian, but after he was fired, he went to compose, now his songs are sung by the whole city, but competitors are winning, which leads him to a wandering life. Together with the count, they come up with an excellent plan that will help rescue poor Rosina. Figaro will try to enter under the guise of a barber, and the count will dress up as a drunken officer who serves the master.
When Rosina opens the window, she throws, supposedly by accident, a sheet of music, on which is written a request that the count reveal his true name in song. But the Count does not. The doctor, who is constantly next to Rosina, has suspicions.
Figaro manages to get into the house and "treat" the owners, but the count is defeated, the doctor is very suspicious and does not trust him. There is confusion in the house, suddenly a notary arrives and, for a fee, signs the marriage documents between Rosina and Basil. But it is considered invalid because the guardian did not give consent. The count inserts his word and nevertheless marries his beloved girl.
This story teaches that for the sake of love, people are ready for anything, even for the meanest things that destroy dignity. And often with the help of money you can solve any problems, which is very bad for society.
Picture or drawing of Beaumarchais - The Barber of Seville
Other retellings for the reader's diary
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- Summary of Arishka-Trusishka Bianki
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- Summary Domostroy Sylvester
This is a collection of the basics of the way of life of any Orthodox person. It gives the concept of the family, as a small church, about the secular structure and the righteous life. To contain instructions for each member of the family and for each occasion.
At first, the opera was called "Almaviva, or Vain Precaution" ("Almaviva, ossia l'inutile precauzione"). Rossini gave his work such a name because the opera "The Barber of Seville, or Useless Precaution" had already been written - its author was Giovanni Paisiello, and it had long been popular on opera stage. In addition to Paisiello, by that time L. Benda (1782), I. Schultz (1786), N. Izuar (1797) and others wrote on the plot of the Barber of Seville opera.
Rossini in 1816 undertook to write a new opera for the Argentino theater in Rome for the carnival. However, censorship prohibited all librettos that were proposed by the composer. There was very little time left before the carnival, and then it was decided to use the theme allowed by the censors. This is how the idea of "The Barber of Seville" was born. Rossini turned to Paisiello for permission, and he answered kindly, not doubting the failure of the young composer's opera. The new libretto was written by C. Sterbini. Rossini composed quickly. But the speed with which The Barber of Seville was written (the composer used many of his previous works) is amazing. Composing and instrumentation took 13 days.
Action 1
Painting 1.On the streets of Seville, musicians have gathered to accompany the young Count Almaviva, who serenades his beloved, Rosina. This is a charming flowery cavatina (“Esso ridente in cielo” - “Soon the east will shine brightly with gold at dawn”). But all efforts are fruitless. The musicians fail to call Rosina: she is strictly guarded old doctor Bartolo. The irritated Count and his servant Fiorello send the musicians away.
Figaro. Sculpture by Jean Amy
And now we hear offstage a joyful baritone. This is Figaro, the barber, singing to himself for joy and telling us how necessary he is for everyone in the city. This bluster is the marvelous cavatina "Largo al factotum" ("Place! Open wide, people!"). It quickly turns out that Figaro has known the count for a long time (there are not so many people in the city whom Figaro does not know). The Count - with the amount of money he has on hand - enlists Figaro to help him arrange his marriage to Rosina, and they begin to develop a plan of action. But their discussion is interrupted by Dr. Bartolo, who has left the house, he mumbles that he himself intends to marry Rosina today. This is heard by the Count and Figaro.
Now both conspirators decide to act quickly. Taking advantage of Bartolo's absence, Almaviva again starts a serenade and this time introduces herself as Lindor (the melody of this canzone belongs to Vincenzo Bellini). Rosina answers him favorably from the balcony and suddenly quickly leaves, hearing someone's steps in her apartment. The inventive Figaro immediately thinks of what to do: Almaviva will disguise himself as a soldier and, as if drunk, will enter the house with the words that his regiment is stationed in the city and he will live here. The Count likes this idea, and the scene ends with a merry duet in which the enamored Count expresses his joy at the prospect of success for the whole undertaking, and the barber rejoices at the success of the already profitable project.
M. Karakash as Figaro (1913)
Picture 2. Now events are unfolding rapidly and violently. They take place in Dr. Bartolo's house. Rosina sings her famous coloratura aria "Una voce poco fa" ("In the silence of midnight"). In it, Rosina confesses her love for the unknown serenading Lindor for the first time, then swears to forever belong to him, despite her disgusted guardian, with whom she will be able to cope. She goes on to talk about what a wonderfully submissive wife she would be if she wasn't challenged. Otherwise, she intends to become a true devil, vixen. (Usually in modern productions this part is performed coloratura soprano. However, Rossini wrote it differently. He intended it for a coloratura mezzo-soprano, quite rare in the 20th century.) After the aria, she briefly but cordially talks with Figaro, the barber, and less cordially with Dr. Bartolo.
Productions in Russia
The first production in Russia took place in 1821 in Odessa, the performance was in Italian.
For the first time in Russian (translated by R. Zotov), the opera was staged on November 27, 1822 in St. Petersburg with the participation of Grigory Klimovsky (Almaviva), Ivan Gulyaev (Bartolo), Vasily Shemaev (Figaro), Nymphodora Semyonova (Rozina) and Alexei Efremov (Don Basilio ).
After a break, the opera was resumed on the St. Petersburg stage in 1831. O. Petrov - Figaro, N. Dur - Bartolo, A. Efremov - Basilio, S. Borkina (Karatygina) - Rosina. In subsequent performances, the roles were played by: L. Leonov - Almaviva, E. Lebedeva, M. Stepanova - Rozina.
In addition, the opera was constantly included in the repertoire of the Italian opera troupe in St. Petersburg. In particular, in 1843 Pauline Viardot performed as Rosina.
In the future, The Barber of Seville was repeatedly staged by the opera houses of Moscow and St. Petersburg.
The first clavier with Russian text was published in Moscow by Peter Jurgenson in 1897. Subsequently, the clavier was published several times by the Moscow publishing house Muzgiz (for example, in 1932, 1956 and 1982).
Performances at the Mariinsky Theater
On October 13, 1882, The Barber was premiered at the Mariinsky Theatre, conductor E. F. Napravnik. The parts were performed by: Count Almaviva - P. A. Lodiy, Rosina - M. A. Slavina, Figaro - I. P. Pryanishnikov, Bartolo - F. I. Stravinsky, Don Basilio - M. M. Koryakin.
On March 6, 1918, in the already former Mariinsky Theater in Petrograd, the audience was presented with a new version performance (conductor Pokhitonov, director Tartakov, artist Konstantin Korovin)
Performances at the Bolshoi Theater
Performers of the main roles on the day of the premiere at the Bolshoi Theater (1913)
IN Soviet time The opera has been staged at the Bolshoi Theater on several occasions. In 1935 - new production created by conductor Steinberg, director L. V. Baratov, artist Makarov. Count Almaviva - Sergey Lemeshev, Rosina - Valeria Barsova, Figaro - Alexander Golovin, Don Basilio - Alexander Pirogov.
During the Great Patriotic War, some changes were made to the performance "on the topic of the day." According to the memoirs of tenor Anatoly Orfenov:
In the “Barber of Seville”, which went on quite often and with my participation, when there was a knock on the soldiers who had come to Bartolo’s house, Basilio asked: “Alarm?” air raid alert). Warriors in auditorium enthusiastic applause greeted this element of detente, some kind of temporary fun they needed, after which they returned to the front again.
During the evacuation Bolshoi Theater in Kuibyshev, The Barber of Seville was one of the first operas to be restored by the theatre. The production of The Barber, along with Aida and other foreign operas, "to the detriment of domestic works”, gave rise to criticism of the leadership and personnel changes at the Bolshoi Theater.
Nevertheless, already in 1944, the opera was staged at the Bolshoi Theater in Once again(conductor Nebolsin, director Zakharov, artist Makarov). Another production appears in 1953. During this period, the Barber of Seville involved: Almaviva - Ivan Kozlovsky, Bartolo - Vladimir Malyshev, Rosina - Vera Firsova, Figaro - Ivan Burlak, Don Basilio - Mark Reizen. In 1952, with this composition and the orchestra of the All-Union Radio, conductor Samuil Samosud makes a recording that is available to listeners even now.
Performances in other theaters
On the pre-revolutionary stage, The Barber of Seville was staged in New Opera(Moscow) - conductor V. Suk; Count Almaviva - I. S. Tomars, Figaro - O. I. Kamionsky, Don Basilio - A. P. Antonovsky, Bartolo - O. R. Fuhrer.
1933 - Opera theatre named after Stanislavsky, Moscow (translated by P. Antokolsky, the trio of the 2nd act is taken from the opera The Barber of Seville by Paisiello; staged by K. S. Stanislavsky, directors Alekseev, V. Vinogradov and Stepanova, conductor Khaikin, artist Nivinsky, choirmaster K. Vinogradov; Count Almaviva - Smirnov, Rosina - Vozdvizhenskaya, Figaro - Mokeev, Don Basilio - Panchekhin, Bartolo - Stepanov). Reopened in 1944.
Some performers
| Characters | Some performers abroad | Some performers in Russia |
|---|---|---|
| Count Almaviva | Giuseppe Di Stefano (Italy), Luigi Alva (Peru), Alfredo Kraus (Spain), Fritz Wunderlich (Germany), Nicolai Gedda (Sweden), Rockwell Blake (USA), Francisco Araiza (Spain), Juan Diego Flores (Peru) | Vasiliev 3rd, Alexander Dodonov, Andrey Labinsky, Lev Leonov, Pyotr Lodii, Mikhail Mikhailov, Joseph Tomars, Dmitry Usatov, Grigory Bolshakov, Ivan Kozlovsky, Sergey Lemeshev, Vladimir Nardov, Anatoly Orfenov, Pyotr Slovtsov, Solomon Khromchenko, Sergey Yudin, Denis Korolev |
| Figaro | Camillo Everardi (Italy), Mattia Battistini (Italy), Hermann Prey (Germany), Arthur Rinne, Tito Gobbi (Italy), Titta Ruffo (Italy), Charles Edward Horn (Great Britain), Thomas Hampson (USA), Bastianini, Ettore ( Italy) | Oscar Kamionsky, Grigory Klimovsky, Ippolit Pryanishnikov, Ivan Burlak, Yuri Vedeneev, Yuri Gulyaev, Pavel Zhuravlenko, Alexander Inashvili, Nikolai Kondratyuk, Yuri Mazurok, Panteleimon Nortsov, Lev Obraztsov, Andrei Baturkin, Dmitry Hvorostovsky |
| Rosina | Josephine Fodor-Meinviel (France), Pauline Viardot (France), Teresa Berganza (Spain), Anais Castel (France), Maria Malibran (Spain), Nelly Melba (Australia), Lily Pons (France-USA), Maria Callas (USA) ), Maria Hanfstaengl (Germany), Elina Garancha (Latvia), Anna Kasyan (France), Cecilia Bartoli (Italy) | Nadezhda van der Brandt, Maria Leonova, Elena Karaikina-Lebedeva, Evgenia Mravina, Antonina Nezhdanova, Nadezhda Salina, Maria Slavina, Natalia Aktseri, Gohar Gasparyan, Irina Zhurina, Maria Zvezdina, Elena Katulskaya, Maria Kurenko, Evgenia Miroshnichenko, Vera Firsova, Irina Maslennikova , Lyudmila Erofeeva , Olga Kondina , Aisulu Khasanova |
| Bartolo | Salvatore Baccaloni (Italy), Fritz Ollendorf (Germany), Enzo Dara (Italy) | Ivan Gulyaev, Nikolai Dur, Otto Fuhrer, Vladimir Lossky |
| Basilio | José van Dam (Belgium), Laszlo Polgar (Hungary), Ruggero Raimondi (Italy), Ferruccio Furlanetto (Italy) | Alexander Antonovsky, Alexei Efremov, Filimon Koridze, Fyodor Stravinsky, Fyodor Chaliapin, Matvey Goryainov, Alexei Krivchenya, Vladimir Lossky, Ivan Matchinsky, Alexander Ognivtsev, Ivan Petrov, Boris Shtokolov |
musical numbers
| Overture | Sinfonia |
|
Act one Atto primo |
|
|
Picture one Parte prima |
|
| 1. Introduction (“Quietly, without speaking ...”) | 1. Introduction (“Piano, pianissimo…”) |
| Almaviva's Cavatina ("Soon the East...") | Cavatina d'Almaviva ("Ecco ridente in cielo...") |
| Continuation and finale of the introduction ("Hey, Fiorello? ..") | Seguito e Stretta dell'Introduzione ("Ehi, Fiorello?..") |
| Recitative ("Here are the scoundrels! ..") | Recitativo (“Gente indiscreta!..”) |
| 2. Cavatina Figaro ("Place! Expand wider, people! ..") | 2. Cavatina di Figaro (“Largo al factotum della città…”) |
| Recitative ("Oh, yes! Not life, but a miracle! ..") | Recitativo (“Ah, ah! che bella vita!..”) |
| Recitative (“Today she wants to marry Rosina ...”) | Recitativo ("Dentr'oggi le sue nozze con Rosina!..") |
| 3. Canzona Almaviva (“If you want to get married, my dear friend…”) | 3. Canzone d’Almaviva (“Se il mio nome saper voi bramate…”) |
| Recitative ("Oh, heaven! ..") | Recitativo ("Oh cielo!..") |
| 4. Duet of Figaro and Almaviva (“One thought - to get metal ...”) | 4. Duetto di Figaro e d’Almaviva (“All’idea di quel metallo…”) |
| Recitative ("Long live my master! ..") | Recitativo ("Evviva il mio padrone!..") |
|
Picture two Parte seconda |
|
| 5. Rosina's Cavatina ("In the Silence of Midnight...") | 5. Cavatina di Rosina (“Una voce poco fa…”) |
| Recitative (“Yes, yes, I won’t give in! ..”) | Recitativo (“Sì, sì, la vincerò!..”) |
| Recitative ("Ah! Wait, the vile barber ...") | Recitativo ("Ah! Barbiere d'inferno...") |
| 6. Aria Basilio (“Slander is sweet at first…”) | 6. Aria di Basilio (“La calunnia è un venticello…”) |
| Recitative ("Well, what do you say? ..") | Recitativo (“Ah! che ne dite?..”) |
| Recitative ("Excellent, my sir! ..") | Recitativo (“Ma bravi! ma benone!..”) |
| 7. Duet of Rosina and Figaro ("Is it me? Oh, that's lovely! ..") | 7. Duetto di Rosina e di Figaro (“Dunque io son… tu non m’inganni?..”) |
| Recitative (“Now I can breathe…”) | Recitativo (“Ora mi sento meglio…”) |
| 8. Aria Bartolo (“It’s not for nothing that I’m a sharp-sighted doctor ...”) | 8. Aria di Bartolo (“A un Dottor della mia sorte…”) |
| Recitative (“Be angry, swear as much as you want ...”) | Recitativo (“Brontola quanto vuoi…”) |
| 9. Finale One ("Hey, a lodging house...") | 9. Finale primo (“Ehi di casa… buona gente…”) |
|
Action two Atto secondo |
|
|
Picture one Parte prima |
|
| Recitative ("Here's an unpleasant case! ..") | Recitativo (“Ma vedi il mio destino!..”) |
| 10. Duet of Almaviva and Bartolo (“Be over you peace and joy!..”) | 10. Duetto d’Almaviva e di Bartolo (“Pace e gioia sia con voi…”) |
| Recitative (“Tell me, my lord…”) | Recitativo (“Insomma, mio signore…”) |
| Recitative ("Come in, signorina ...") | Recitativo (“Venite, Signorina…”) |
| 11. Rosina's aria (“If the heart fell in love ...”) | 11. Aria di Rosina (“Control un cor che accende amore…”) |
| Recitative ("Wonderful voice! ..") | Recitativo ("Bella voce!..") |
| 12. Arietta Bartolo ("When you sit sometimes ...") | 12. Arietta di Battolo (“Quando mi sei vicina…”) |
| Recitative ("Ah, mister barber ...") | Recitativo (“Bravo, signor Barbiere…”) |
| 13. Quintet ("Don Basilio! What do I see! ..") | 13. Quintetto ("Don Basilio! Cosa veggo! ..") |
| Recitative ("Oh, here's the trouble befell! ..") | Recitativo (“Ah! disgraziato me!..”) |
| Recitative ("And the old man does not believe me! ..") | Recitativo ("Che vecchio sospettoso!..") |
| 14. Berta's aria (“The old man decided to marry ...”) | 14. Aria di Berta (“II vecchiotto cerca moglie…”) |
|
Picture two Parte seconda |
|
| Recitative ("So, with this don Alosho ...") | Recitativo (“Dunque voi, Don Alonso…”) |
| 15. Storm | 15. Temporale |
| Recitative ("Well, finally climbed in ...") | Recitativo (“Alfine eccoci qua!..”) |
| 16. Tercet of Rosina, Almaviva and Figaro ("Ah! I'm glad ...") | 16. Terzetto di Rosina, d’Almaviva e di Figaro (“Ah! qual colpo…”) |
| Recitative ("Oh, here's another misfortune! ..") | Recitativo (“Ah, disgraziati noi…”) |
| 17. Almaviva's recitative and aria (“Why should I hide before you ...”) | 17. Recitativo ed Aria d'Almaviva (“Cessa di più resistere…”) |
| Recitative ("It turns out - I'm fooled ...") | Recitativo (“Insomma, io ho tutti i torti!..”) |
| 18. Finale of the second (“Care and excitement ...”) | 18. Finale secondo ("Di sì felice innesto...") |
- Rosina's Cavatina is performed by Frosya Burlakova in the Soviet film Come Tomorrow.
Notable audio recordings
- - conductor Samuil Samosud, choir and orchestra of the All-Union Radio (USSR)
- - Conductor Alcheo Galliera, London Philharmonic Orchestra (Italy)
- - Conductor Vittorio Gui, Choir of the Glyndebourne Opera Festival, Orchestra of the Royal Philharmonic Orchestra (UK)
- - Conductor Neville Marriner, Ambrosian Opera Chorus, St. Martin-in-the-Fields Academy Orchestra (UK)
- - Conductor Bruno Campanella, orchestra and choir Royal Theater in Turin, Nuova Era (Italy)
- - conductor Claudio Abbado, choir of the theater "La Fenice" (Venice), Chamber Orchestra of Europe (Italy)
