Gioacchino Rossini
THE BARBER OF SEVILLE
Opera in three acts (four scenes)
Libretto C. Sterbini
Characters:
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Almaviva, Count Bartolo, MD, Rosina's guardian Rosina, his pupil Figaro, the barber Don Basilio, Rosina's music teacher Fiorello, Count's Servant |
tenor bass soprano baritone bass baritone bass mezzo-soprano |
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Ambrogio Bertha |
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Bartolo's servants |
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Officer, alcade, notary, alguaziles, soldiers and musicians.
The action takes place in Seville (Spain).
Time: XVIII century.
HISTORY OF CREATION
Rossini wrote The Barber of Seville in a striking short term— in twenty days. At the premiere on February 20, 1816, the opera was unexpectedly booed. But subsequent performances were accompanied by a resounding success.
The Barber of Seville was based on the plot of the comedy of the same name (1773), the first part of the well-known trilogy by the great French playwright P. Beaumarchais (1732-1799). Appearing shortly before the French bourgeois revolution, it was directed against the feudal-absolutist regime and denounced the aristocracy. In the image of the main character of the comedy - the dexterous and intelligent Figaro - are embodied character traits representative of the third estate: Vital energy, optimism, enterprise. Figaro appears in comedy as a spokesman for the views of the advanced strata of society of that time. Not all of his monologues and witty remarks were included in the libretto of C. Sterbini (1784-1831). But thanks to the temperamental, humorous music, the image of Figaro retained the main features of his literary prototype. The images of Bartolo - a stingy, grumpy old man and Basilio - an intriguer, jester and bribe-taker - have changed little. The characterization of the sly, resolute and courageous Rosina turned out to be somewhat softened in the opera. Appeared different and Count Almaviva. From a self-confident rake, he turned into a traditional lyrical hero.
Cheerfulness, sparkling fun of "The Barber of Seville" was retained by Rossini's opera ardent love of the broad masses of listeners.
MUSIC
"The Barber of Seville" captivates with inexhaustible wit, melodic generosity and virtuoso brilliance of vocal parts. This work has the characteristics Italian opera-buffa: rapid dynamics of the stage action, an abundance of comic situations. Heroes of the opera, its plot, replete with unexpected turns seem snatched from life itself.
Overture introduces the situation funny adventures. Graceful melodies, temperamental rhythms, rapid rises are full of fire, boiling of vitality.
The beginning of the first act is covered with breath southern night. The feelings of the count in love pour out in the cavatina “Soon the East will shine brightly with golden dawn”, richly decorated with coloratura. The famous cavatina of Figaro sounds like a bright contrast.
"Place! Expand wider, people!”, sustained in the rhythm of a tarantella. Almaviva's melodious, slightly sad canzone "If you want to know" is imbued with tender passion.
The second act opens with the virtuoso cavatina of the coquettish and wayward Rosina "In the Silence of Midnight". Basilio's popular aria about slander, at first insinuating, in the end supported by a gradual increase in the sonority of the orchestra, takes on a comically formidable character.
The duet expressively conveys the slyness and feigned naivety of Rosina, the perseverance and humor of Figaro. The finale of the act is a developed ensemble, full of action and contrasts, rich in bright, catchy melodies.
The third act consists of two scenes. The first begins with a comic duet between Bartolo and Almaviva, in which the perplexed, irritable remarks of the guardian meet the feigned pious and humble speeches of the count. In the next scene (a quintet), alarming exclamations and hasty patter are replaced by a gallant melody that emphasizes the feigned courtesy of Figaro, Almaviva and Rosina, who are trying to send Basilio out.
In the orchestral introduction of the second picture, the dull roar of cellos and double basses, the rapid rise of the violins, the sparkling passages of the flutes depict the night storm. The delights of lovers, their ardent feelings are embodied in an elegant tercet, the music of which is given a languid gentle shade; only the mocking remarks of Figaro, mimicking Almaviva and Rosina, bring a touch of comedy to the tercet. The opera ends with a cheerful final ensemble with a choir.
Opera in full:
; libretto by C. Sterbini after the comedy by P.-O. Caron de Beaumarchais, The Barber of Seville, or The Vain Precaution.
First production: Rome, theater "Argentina", February 20, 1816.
Characters: Count Almaviva (tenor), Bartolo (bass), Rosina (mezzo-soprano), Figaro (baritone), Don Basilio (bass), Fiorello (baritone), Ambrogio (bass), Berta (soprano), officer (bass); alcalde, notary, alguacils, soldiers, musicians.
Act one
Picture one. Square in Seville at sunrise. In front of the house of Dr. Bartolo, Count Almaviva with a group of musicians sings a serenade to Bartolo's pupil Rosina (“Ecco ridente in cielo”; “Soon the east will shine brightly with gold at dawn”). Nobody goes to the balcony. The barber Figaro appears, an old acquaintance of the count ("Largo al factotum"; "Place! Expand wider, people!"). Rosina comes out onto the balcony and, vainly restrained by Bartolo, throws a note to the Count. The count does not want to open his high position, and Figaro advises him to call himself a student of Lindor. Then he gives the count sly advice to pretend to be a drunken soldier and demand an inn in Bartolo's house ("All'idea di quel metallo"; "One thought is to get metal").
Picture two. A room in Bartolo's house. Rosina longs to send a note to Lindor ("Una voce poco fa"; "In the Silence of Midnight"). Bartolo wants to marry her as soon as possible, especially since the music teacher Don Basilio tells him that he saw Almaviva, Rosina's longtime admirer, in the city. Against him, advises Basilio, it is necessary to dissolve the slander (“La calunnia e un venticello”; “Slander is sweet at first”). Rosina manages to pass the note to Figaro, who is surprised by her resourcefulness (duet "Dunque io son"; "Is that me? Oh, that's lovely"). Bartolo notices that Rosina has been writing a letter and bursts into anger ("A un dottor della mia sorte"; "It's not for nothing that I am a sharp-sighted doctor"). The count, disguised as a soldier, tumbles in (“Ehi di casa”; “Hey, an apartment to stay”). He also manages to pass the note to Rosina, but this does not escape Bartolo's attention. There is a commotion, soldiers rush to restore order, but the count quietly says his name to the officer, who respectfully greets him amidst everyone's surprise.
Action two
Picture one. Bartolo is sitting in his office. A young man appears and calls himself Don Alonso: he came to give a music lesson to Rosina instead of the ill Basilio (duet “Pace e gioia sia con voi”; “Be peace and joy over you”). This is the Count in disguise again. Figaro shaves the doctor in an attempt to get the key to Rosina's room for a future escape. The unsuspecting Don Basilio appears, Figaro convinces him that he looks very bad and should immediately go to bed. During the music lesson, Bartolo begins to get suspicious, finally he reveals the truth and disperses everyone. The old maid Bertha talks about the master's stupid love ("Il vecchiotto cerca moglie"; "The old man decided to marry").
Picture two. Bartolo, wanting to speed up the wedding, sends for a notary. Rosina, whom he convinced of Lindor's deceit, agrees to marry the guardian. Suddenly, Figaro and the Count appear, revealing his real name. Rosina is happy (tercet "Ah, qual colpo inaspettato"; "Ah, I'm glad"). The lovers try to escape, but it turns out that Bartolo has removed the ladder leaning against the window. It's okay, Figaro reassures them, that's just the notary and Basilio as a witness. marriage contract immediately signed by Rosina and Almaviva. When Bartolo returns with guards, the deed is already done. The old man, however, consoles himself with the fact that Almaviva refuses Rosina's dowry. Figaro leaves: he has done everything he could (ensemble with choir "Di si felice innesto"; "Care and excitement and a wedding in conclusion").
G. Marchesi (translated by E. Greceanii)
THE BARBER OF SEVILLE (Il barbiere di Siviglia) - a comedy by G. Rossini in 2 acts (3 scenes), libretto by C. Sterbini based on the comedy by P. Beaumarchais "The Barber of Seville, or Vain Precaution". Premiere: Rome, Teatro Argentino, February 20, 1816
Comedy P. Beaumarchais (1775), in which Figaro first appeared on stage, aroused great interest. In 1782, the performance of G. Paisiello's opera The Barber of Seville took place in St. Petersburg, which had big success. Other composers wrote operas on the same plot, for example, F. L. Benda (1776), N. Izuar (1796), and others. Still, the most popular opera adaptation of The Barber of Seville before Rossini remained the work of Paisiello - one of the most perfect examples 18th century opera buffa Its popularity was so great that Rossini's decision to write music for this story was considered impudent.
Rossini in 1816 undertook to write a new opera for the carnival in Rome, but the censorship that raged in Italy forbade all the librettos that were offered to him. There was very little time left, 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 arrogant youth's opera. The new libretto was written by C. Sterbini, using not only Beaumarchais's comedy, but also G. Petrosellini's libretto for Paisiello's opera. Rossini generally composed quickly. But the speed with which The Barber of Seville was written is amazing (although the composer used many of his previous works). Composing and instrumentation took thirteen days. The opera was originally called Almaviva, or Vain Precaution.
The premiere ended in failure. The reasons were a combination of unfavorable circumstances: the performer of the part of Almaviva forgot to take his guitar with him during the serenade, Don Basilio caught on a nail and could not move; to crown it all, a cat ran out onto the stage and, blinded by the light, rushed about in search of a way out. All these "accidents" were deliberate, as was the sharply hostile behavior of the audience that accompanied the opera from the first measures. Supporters of Paisiello and enemies of Rossini, representatives of rival enterprises, organized a scandal unprecedented in the annals of the theater. This scandal disrupted the performance (Rossini fled after the first day). Subsequent performances brought success to the opera.
Brilliant music has opened new paths in the history of the genre, it combines bold buffoonery, lyrics, drama, sparkling fun and satire. Living people came to the place of the masks of the old opera. Of course, there is no need to compare Rossini's work with Mozart's Le nozze di Figaro, but Rossini's masterpiece is closer to it than to Paisiello's. Nothing equivalent to the finale of the 1st day (in modern performances- II d.) by the complexity and variety of the use of the opera-buffa ensemble, until then she did not know how she did not know such emotional richness and vivid character. Many of the techniques and means of the opera seria Rossini used in the opera buffa, without weighing down its style. Therefore, his laughter is not only carefree joyful and bright, it also sounds accusatory - for example, in an aria about slander. And the whole image of Don Basilio is by no means a conventional comic mask. This is not a petty scoundrel, a slanderer, an informer, but an ideologue of meanness. All characters in the opera, although genetically linked to tradition, are shown in a new light. So, Rosina is not an "imaginary simpleton", as she appears in Paisiello, but a girl fighting for her happiness. Rossini emphasized new feature image, writing the part of the heroine for the mezzo-soprano: usually the contralto and mezzo-soprano assigned the roles of passionate, impetuous natures. It is no coincidence that the first listeners of the opera, according to Stendhal, were indignant that the composer turned Rosina into a “boy-woman”. Wealth, variety of colors distinguish the images of all the characters. Rossini generously used folk song and dance melody, genre and everyday forms in music. The opera is rich in dance rhythms - from saltarella to waltz. In the finale, the melody of the Russian folk song“Ah, why was it necessary to fence the garden”: Rossini used the music of his own cantata “Aurora”, dedicated to the widow of the great Russian commander M. Kutuzov.
The Barber of Seville is the best of Rossini's comic operas and almost the best comic opera 19th century to Verdi's Falstaff. Soon it was staged in other cities of Italy, and then on other stages in Europe, becoming one of the most popular. The largest singers and singers of the world performed in it, from P. Viardo-Garcia, G. Rubini, A. Tamburini, L. Lablache to our contemporaries. In Russia, The Barber of Seville was first performed in Odessa in 1821 by an Italian troupe, on the Russian stage - at the St. Petersburg Bolshoi Theater on November 27, 1822 (G. Klimovsky - Almaviva, I. Gulyaev - Bartolo, V. Shemaev - Figaro, N. Semenova - Rosina, E. Sandunova - Marcelina, A. Efremov - Don Basilio). On January 17, 1829, the opera was presented in St. Petersburg by an Italian troupe. On January 31, 1831, a renewal took place on the Russian stage; the parts were performed by O. Petrov - Figaro, N. Dur - Bartolo, A. Efremov - Basilio, S. Birkina (Karatygina - 2nd) - Rosina; subsequent performances were performed by L. Leonov - Almaviva, E. Lebedeva, M. Stepanova - Rozina.
The Barber of Seville was performed with great success by the troupe of the Imperial Italian Opera in St. Petersburg in the 1940s; the performances were attended by P. Viardot - Rosina (this was the debut of a wonderful singer in Russia), G. Rubini - Almaviva, A. Tamburini - Figaro. The role of Rosina was later performed by coloratura sopranos, among them Giulia Grisi and A. Patti. The Italian "The Barber" temporarily ousted the opera from the Russian repertoire. Rossini's work was not staged on the Russian stage from 1839 to 1882, when it was resumed with great success (P. Lodius - Almaviva, F. Stravinsky - Bartolo, M. Koryakin - Don Basilio, I. Pryanishnikov - Figaro, M. Slavina - Rosina). It was a performance exceptional in every way. The role of Rosina, according to the author's intention, was sung by a mezzo-soprano.
The best performers of the main parts on the domestic stage are I. Melnikov, I. Tartakov, O. Kamionsky, A. Bragin, M. Karakash (Figaro); F. Chaliapin, M. Koryakin, P. Zhuravlenko, G. Bosse, A. Pirogov, M. Reisen (Don Basilio); S. Khromchenko, S. Lemeshev, I. Kozlovsky (Almaviva). The role of Rosina in Russia was firmly entrenched in light sopranos, among which E. Pavlovskaya, E. Mravina, L. Lipkovskaya, A. Nezhdanova, R. Gorskaya stood out. If outstanding Russian singers successfully competed with Italian ones in the transfer of the main parts, then F. Chaliapin, who determined the stage tradition of the role of Don Basilio, was beyond comparison.
In the XX century. for the first time in many years, the domestic public heard Rosina's part in original form, performed by mezzo-soprano - F. Cossotto, during the tour of the La Scala Theater in Moscow in 1964. Among the best productions recent decades- performance at the Salzburg Festival in 1968 (conducted by C. Abbado, directed by J. P. Ponnel). Best performers Rosina's party in the 20th century. - C. Supervia, M. Horn and C. Bartoli, Figaro parts - T. Ruffo, T. Gobbi and L. Nucci.
In 1947, the opera was filmed directed by M. Costa with T. Gobbi, F. Tagliavini and I. Taio in the main roles; I. Jenny played Rosina, L. Palyugi sang. It was the first full-length opera film.
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. Schulz (1786), N. Izuar (1797) and others wrote on the plot of The Barber of Seville.
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 was quite frequent 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 at the Novaya 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)
On the night street of Seville, in the costume of a modest bachelor, Count Almaviva is waiting for the object of his love to appear in the window. A noble nobleman, tired of court licentiousness, for the first time wants to win the pure, unbiased love of a young noble girl. Therefore, so that the title does not overshadow the person, he hides his name.
The beautiful Rosina lives locked up under the supervision of her old guardian, Dr. Bartolo. It is known that the old man is in love with his pupil and her money and is going to keep her in custody until the poor thing marries him. Suddenly, on the same street, a merrily singing Figaro appears and recognizes the Count, his old acquaintance. Promising to keep the count incognito, the rogue Figaro tells his story: having lost his position as a veterinarian due to too loud and dubious literary fame, he is trying to establish himself as a writer. But although all of Spain sings his songs, Figaro fails to cope with the competition, and he becomes a traveling barber. Thanks to his incredible wit, as well as worldly wisdom, Figaro philosophically and with unchanging irony perceives sorrows and enchants with his cheerfulness. Together they decide how to rescue Rosina from imprisonment, who is in love with the count in return. Figaro enters the house of Bartolo, jealous to the point of rage, as a barber and doctor. They think that the count will appear dressed up as a drunken soldier with an appointment to stay in the doctor's house. Figaro himself, meanwhile, will incapacitate Bartolo's servants, using simple medical means.
The blinds open and Rosina appears in the window, as always with the doctor. Allegedly by chance, she drops a sheet of music and a note for her unknown admirer, in which he is asked to sing to reveal his name and rank. The Doctor runs to pick up the paper, but the Count is quicker. To the tune of "Vain Precaution", he serenades himself as the unknown Bachelor Lindor. Suspicious Bartolo is sure that the sheet of music was dropped and allegedly blown away by the wind for a reason, and Rosina must be in a conspiracy with a mysterious admirer.
The next day, poor Rosina is languishing and bored, confined in her room, and is trying to figure out a way to deliver the letter to the Lindor. Figaro had just "healed" the doctor's household: he bled a maid from her leg, and prescribed sleeping pills and sneezing drugs for the servants. He undertakes to deliver Rosina's letter and in the meantime overhears Bartolo's conversation with Basil, Rosina's music teacher and Bartolo's main ally. According to Figaro, this is a distressed crook, ready to hang himself for a penny. Basil reveals to the doctor that Count Almaviva, who is in love with Rosina, is in Seville and has already established correspondence with her. Bartolo, horrified, asks to arrange his wedding the very next day. Count Basil offers to pour slander in front of Rosina. Basil leaves, and the doctor rushes to Rosina to find out what she could talk about with Figaro. At that moment, the count appears in the form of a cavalryman, pretending to be tipsy. His goal is to identify himself to Rosina, give her a letter and, if possible, stay in the house for the night. Bartolo, with the sharp instinct of a jealous man, guesses what kind of intrigue lies behind this. A funny skirmish takes place between him and the imaginary soldier, during which the count manages to hand the letter to Rosina. The Doctor proves to the Count that he is free from the post and kicks him out.
The Count makes another attempt to break into Bartolo's house. He changes into a bachelor's suit and identifies himself as Basil's apprentice, who is kept in bed by a sudden indisposition. The count hopes that Bartolo will immediately offer him to replace Basil and teach Rosina a lesson, but he underestimates the old man's suspicions. Bartolo decides to visit Basil immediately, and in order to deter him, the imaginary bachelor mentions the name of Count Almaviva. Bartolo demands new news, and then the count has to be informed on behalf of Basil that Rosina's correspondence with the count has been discovered, and he is instructed to give the doctor Rosina's intercepted letter. The count is in despair that he is forced to hand over the letter, but there is no other way to earn the old man's trust. He even offers to use this letter when the moment comes to break Rosina's resistance and convince her to marry the doctor. It is enough to lie that Basil's disciple received it from one woman, and then confusion, shame, annoyance can bring her to a desperate act. Bartolo is delighted with this plan and immediately believes that the bastard Basil really sent the count. Under the guise of a singing lesson, Bartolo decides to introduce the imaginary student to Rosina, which is what the count wanted. But they fail to be alone during the lesson, because Bartolo does not want to miss the chance to enjoy the singing of the pupil. Rosina sings a song from "Vain Precaution" and, slightly altering it, turns the song into a love confession to Lindor. The lovers are playing for time to wait for the arrival of Figaro, who will have to distract the doctor. Finally he comes, and the doctor scolds him for the fact that Figaro crippled his household. Why, for example, was it necessary to put poultices over the eyes of a blind mule? It would be better if Figaro repaid the doctor's debt with interest, to which Figaro swears that he would rather be in debt to Bartolo for life than refuse this debt even for a moment. In response, Bartolo swears that he will not yield in a dispute with an impudent one. Figaro turns his back, saying that he, on the contrary, always yields to him. And in general, he just came to shave the doctor, and not to intrigue, as he deigns to think. Bartolo is in difficulty: on the one hand, it is necessary to shave, on the other hand, Figaro must not be left alone with Rosina, otherwise he will be able to send her a letter again. Then the doctor decides, in violation of all decorum, to shave in the room with Rosina, and send Figaro for the device. The conspirators are delighted, since Figaro has the opportunity to remove the key from the blinds from the bundle. Suddenly, the sound of breaking dishes is heard, and Bartolo, screaming, runs out of the room to save his appliance. The count manages to make an appointment with Rosina in the evening to rescue her from captivity, but he does not have enough time to tell her about the letter given to the doctor. Bartolo returns with Figaro, and at that moment Don Basil enters. Lovers in silent horror that now everything can open up. The doctor asks Basil about his illness and says that his student has already passed everything on. Basil is at a loss, but the count imperceptibly puts his wallet in his hand and asks him to be silent and leave. The strong argument of the count convinces Basil, and he, citing ill health, leaves. Everyone takes to the music and shaving with relief. The count declares that before the end of the lesson he must give Rosina the last instructions in the art of singing, leans over and explains his dressing in a whisper. But Bartolo sneaks up on the lovers and overhears their conversation. Rosina screams in fright, and the count, witnessing the doctor's wild antics, doubts that with such oddities of his, Señora Rosina will want to marry him. Rosina in anger swears to give her hand and heart to the one who will free her from the jealous old man. Yes, sighs Figaro, the presence of a young woman and old age- that's what the old people go crazy for the mind.
Bartolo, furious, runs to Basil to shed light on all this confusion. Basil admits that he has never seen the bachelor, and only the generosity of the gift made him keep silent. The doctor does not understand why it was necessary to take the wallet. But at that moment Basil was bewildered, and in difficult cases gold always seems to be an irrefutable argument. Bartolo decides to make one last effort to possess Rosina. However, Basil does not advise him to do this. In the end, the possession of all kinds of goods - that's not all. To receive pleasure from the possession of them - that is what happiness consists of. To marry a woman who does not love you is to expose yourself to endless heavy scenes. Why do violence to her heart? And besides, replies Bartolo, that it would be better for her to cry because he is her husband than for him to die because she is not his wife. Therefore, he is going to marry Rosina that night and asks to bring a notary as soon as possible. As for Rosina's stubbornness, the imaginary bachelor, unwittingly, suggested how to use her letter to slander the count. He gives Basil his keys to all the doors and asks him to bring the notary as soon as possible. Poor Rosina, terribly nervous, is waiting for Lindor to appear in the window. Suddenly, the steps of the guardian were heard, Rosina wants to leave and asks the annoying old man to give her peace at least at night, but Bartolo begs him to listen. He shows Rosina's letter to the count, and the poor thing recognizes him. Bartolo lies that as soon as Count Almaviva received the letter, he immediately began to brag about it. It supposedly came to Bartolo from one woman, to whom the count presented the letter. And the woman told everything in order to get rid of such a dangerous rival. Rosina was to become the victim of a monstrous plot by the Count, Figaro and a young bachelor, the Count's henchman. Rosina is shocked that Lindor, it turns out, won it not for himself, but for some Count Almaviva. Rosina, beside herself with humiliation, suggests that the doctor marry her immediately and warns him of the impending kidnapping. Bartolo runs for help, intending to ambush the Count near the house in order to catch him as a robber. The unfortunate offended Rosina is left alone and decides to play a game with Linder to see how low a person can sink. The blinds open, Rosina runs away in fear. The Count is concerned only with whether the modest Rosina will not find his plan to marry immediately too bold. Figaro then advises calling her cruel, and women are very fond of being called cruel. Rosina appears, and the count begs her to share the lot of the poor with him. Rosina replies indignantly that she would consider it happiness to share his bitter fate if it were not for the abuse of her love, as well as the meanness of this terrible Count Almaviva, to whom they were going to sell her. The count immediately explains to the girl the essence of the misunderstanding, and she bitterly repents of her gullibility. The count promises her that since she agrees to be his wife, he is not afraid of anything and will teach the vile old man a lesson.
They hear it open Entrance door, but instead of a doctor with guards, Basil and a notary are shown. A marriage contract is immediately signed, for which Basil receives a second wallet. Bartolo breaks in with a guard, who is immediately embarrassed when he learns that the count is in front of him. But Bartolo refuses to recognize the marriage as valid, citing the rights of a guardian. It is objected to him that, having abused his rights, he lost them, and the resistance to such a respectable union only indicates that he is afraid of responsibility for the poor management of the pupil's affairs. The count promises not to demand anything from him except consent to marriage, and this broke the stubbornness of the stingy old man. Bartolo blames his own negligence for everything, but Figaro is inclined to call it thoughtlessness. However, when youth and love conspire to deceive the old man, all his efforts to prevent them can be called a futile precaution.
The premiere took place on February 20, 1816 in Rome.
The plot is based on the comedy of the same name by the famous French playwright Pierre Beaumarchais.
The action takes place in Seville in the 18th century. Young Count Almaviva wants to serenade his beloved Rosins to the accompaniment of musicians. He has been in love with a girl for a long time, which she does not even suspect. But all efforts are in vain. The girl's old guardian along with his servant Fiorello kick everyone out. The voice of a merry barber is heard Figaro.
Aria of Figaro sung by the magnificent Tito Gobbi
They have long been familiar with Almaviva. Figaro gladly agrees to help the Count free his beloved from the hated guardianship of the old doctor Bartolo, who, among other things, planned to marry Rosina. Almaviva again in front of her beloved's balcony.
He appears simple guy by name Lindor, whose wealth is only love for Rosina. The girl is so tired of Bartolo's tutelage that she is ready to run away almost with the first comer. Rosina is imbued with sincere sympathy for Lindor.
Meanwhile Don Basilio(music teacher) adds fuel to the fire.
Great Chaliapin sings Don Basilio's aria "Slander"
He informs Dr. Bartolo that Count Almaviva is in town and has plans for Rosina. Dr. Bartolo is furious. He wants to marry Rosina himself as soon as possible. At this time, Figaro manages to talk to the girl.
Rosina's Cavatina is sung by Vera Firsova, soloist of the Bolshoi Theater of the 70s
She delivers a letter for Lindor, and then tries to speak her teeth to her guardian.
But Dr. Bartolo orders her to lock herself up. Now a young, enamored earl is trying to get into the house. Posing as a drunken soldier who is allegedly stationed in this house, he screams and swears. However, he manages to make it clear to Rosina that he is Lindor. With every second, the turmoil unfolds more and more, until all the heroes are on the stage. A patrol patrol breaks into the house, attracted by the noise. But the disguised count manages to evade arrest. The situation is tense to the limit. The first act ends. In the second act, Figaro and Almaviva arrange several more meetings with Rosina, where they agree on an escape. Then Almaviva decides to confess to Rosina that he and Lindor are the same person. Rosina is happy. And now, when everything is almost decided, it turns out that they cannot get out of the house. The music teacher Basilio and the notary appear. They are waiting for Bartolo to register the marriage of the old guardian and the young ward. Count Almaviva quickly resolves the situation: he offers Basilio a choice - a ring or two bullets. Basilio reluctantly chooses the ring. The marriage ceremony is barely over when Dr. Bartolo returns, accompanied by an officer and soldiers. And now, finally, everything finally turns out. The old guardian comes to terms with the outcome of events only after he learns that Almaviva does not need Rosina's dowry. The comedy ends with a general reconciliation in the best traditions of opera buffa.It is impossible not to recall the magnificent performance of Rosina's cavatina by Ekaterina Savinova in the film "Come Tomorrow"!
History of creation
In 1816 Gioacchino Rossini set to work on new opera on the occasion of the upcoming carnival for the Teatro Argentino. Many of the themes that inspired the composer to write the opera did not pass the censorship check. When there was very little time left, Rossini decided to use the already resolved topics. And so the idea of writing a new "The Barber of Seville".
Duet of Rosina and Figaro. Singing Anna Netrebko
Moreover, Rossini personally approached the author of the previous "The Barber of Seville" Giovanni Paisiello for permission to start work. He answered kindly and in the affirmative (of course, because he never doubted the future failure of the young composer). Rossini composed music rather quickly. Work on the work took a record short time - only 13 days were spent on writing and instrumentation. On February 20, 1816, the premiere of the opera took place. The first performance was unsuccessful - the audience suddenly "buzzed" as a sign of rejection of the work. Nevertheless, subsequent performances were held with great success. Further fate "The Barber of Seville" triumphant. The product was destined to become one of the the best operas in the history of comedy. Even ardent critics of Rossini's work found great satisfaction in the opera.
And this is Muslim Magomayev singing Figaro's cavatina!
The Barber of Seville has all the best that can be in the Italian buffa opera: fast-paced dynamics storyline, abundance comic scenes, life characters of heroes. It is worth noting that Gioacchino Rossini had an outstanding talent - to entertain with music itself, without words. Such features of the musical part as cheerfulness and cheerful mood have kept the public's ardent love for the work for many years.
- The name “The Barber of Seville” was not immediately acquired by the opera. At first the composer called her"Almaviva, or the Vain Precaution", since at the time of publication the opera called The Barber of Seville had already been written by the composer Giovanni Paisiello and was a great success on the opera stage. In addition, many operas were written on the same plot. And yet it is said that Paisiello's followers (perhaps even spurred on by the 75-year-old man) made a fuss at the premiere of Rossini's opera and the performance failed. Giovanni Paisiello himself died 3.5 months after the premiere of Almaviva and never found out that The Barber of Seville by Gioacchino Rossini completely eclipsed his creation, which remained popular in opera circles for more than thirty years.
- The composer created the opera in just two weeks thanks to the fact that he used fragments of his earlier creations. For example, the overture features melodies from the operas Elizabeth, Queen of England and Aurelian in Palmyra.
- Overture to the opera
- During the Great Patriotic War in Russian libretto operas, "topical" changes were made. At the moment when the soldiers knocked on Bartolo's house, Basilio asked: "Alarm?", and Bartolo answered after the second knock: "No, it's lights out." The signal to cancel the air raid alarm was met with enthusiastic applause by the soldiers. This discharge was vital to them. After all, after a short fun, they were forced to go to the front again.
- In 1947 Opera "The Barber of Seville" was filmed directed by director Mario Costa.
An excerpt from the British puppet cartoon The Barber of Seville, 1995.
