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Gran Teatre del Liceu © A. Bofill

Rossini Il Barbiere di Siviglia

From 21 July TO 01 August 2020
Gran Teatre del Liceu - Barcelona
Program

Rossini : Il Barbiere di Siviglia

3 H 10
Cast
  • Conductor
    Manuel López Gómez
  • Director
    Josef E. Köpplinger
  • Performers
    Figaro: Giorgio Caoduro
    Rosina: Paola Gardina
    Il Conte d’Almaviva: Maxim Mironov
    Dottore Bartolo: Fabio Capitanucci
    Don Basilio: Soloman Howard
  • Venue Info
  • Seating Plan
  • Synopsis

Gran Teatre del Liceu - Barcelona Location La Rambla, 51-59 - 08002 Barcelona Espagne

  • Venue's Capacity: 2290
  • Other : PRICE: The Gran Teatre del Liceu uses "Dynamic Pricing" that means that Prices for all performances are subject to change (increase and decrease) based on their sales. So, the prices may have changed, you will be informed of the new price as soon as possible, you will then be able to choose wether you want to buy your tickets at the new price or to cancel your booking (your credit card will not be charged).

The Venue's History in few words …

On 4 April 1847, the Gran Teatre del Liceu established by Miguel Garriga, opened its doors with a very diverse programme. Anna Bolena by Donizetti was one of the major events here. In 1861, the theatre caught fire. It was rebuilt one year later to become the true rival of the old Santa Gran Teatre. At the end of the 19th century, the Liceu became the venue where people came to see and be seen; which is why the shows were performed with the house lights left on.

 

The work of national composers was rarely performed. However, among them were several highly esteemed composers, including GURIDI, ARRIETA and BRETON. The great French operas did not take hold quite as quickly as the Italian repertoire. It was in 1851 that Robert le diable was performed. Enthusiasm for MEYERBEER reached its peak with the performance of the play Les Huguenots in 1856; he is one of the most frequently performed composers in the history of the Liceu. This fascination of the public for the French repertoire grew with the performances of GOUNOD’s Faust in 1864 which was considered, with its 26 consecutive performances, as the last word in opera. At the end of the 19th century, the Liceu was one of the leading opera houses in Europe. Verdi was performed there, as were the great French operas, and national composers such as Felip PEDRELL and Wagner. Die Walküre caused a sensation and the house lights of the Liceu were put out for the first time.

 

The performance of Mussorgsky’s Boris Godunov on 20 November 1915 marked the beginning of a period of splendour for Russian opera at the Liceu. When the second republic was proclaimed in 1931, political instability led to a serious financial crisis which badly affected the Liceu. During the civil war, the Liceu was nationalised and took the name “Gran Teatre del Liceu”. Its seasons were later suspended.

 

The activities of the Liceu began again in 1939 under the aegis of the Spanish and German authorities, subject to the propaganda of the Third Reich. Wagner was the most frequently performed composer during this period. In 1955, for the first time in its history, the Festival of Bayreuth was held at the Gran Teatre del Liceu. Germany felt the need to make up for its recent past. Barcelona was an obvious choice, given its longstanding Wagnerian tradition and the authoritarian regime that kept away any hostile element.

 

On 31 January 1994, the Liceu was once again destroyed by fire and it was rebuilt on the same site. The new building opened in 1999 offering great artistic and technological quality whilst respecting the former décor which had been reproduced. Its stage allows two or three performances at the same time with maximum visibility and an improved acoustic quality.

Gran Teatre del Liceu

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Il Barbiere di Siviglia

IL BARBIERE DI SIVIGLIA A LIGHT HEARTED OPERA WITH COMEDIC MOMENTS

Set in Spain in the 17th century, Rossini's opera, The Barber of Seville, is a famous and thoroughly entertaining show. The energy that this opera delivers, is quite different from the majority of operatic narratives, in the sense of its well placed humour and lack of dramatic highs and lows, as well as the absence of a crescendo, generally featured in most plays. Laughter is key, with Il Barbiere di Sivigliaand its happy ending stays in line with its feel good factor, to keep audiences amused and exultant.

THE HISTORY
Dr Bartolo wants to marry Rosina, for her inheritance. Count Almaviva, captivated by Rosina, serenades her, outside Bartolo's home. Disguising himself as Lindora, to gain Rosina's affection, Almaviva makes his wishes known. Rosina agrees to elope with Lindora, but changes her mind, not realising Lindora is Almaviva. Upon realisation, they marry, with Figaro's help. Bartolo, receiving her dowry, is appeased.

Act 1
A group of musicians congregate outside Dr Bartolo's home, with Count Almaviva. He serenades Rosina, who is kept under lock and key, in the doctor's residence. Unable to secure an answer to his serenade, Almaviva pays the musicians, sending them away. Figaro, the barber, approaches and Almaviva asks for his advice. Figaro devises a plan, while Dr Bartolo, leaves home, with his plot to marry Rosina. Figaro tells Almaviva to disguise himself as Lindora, to attract Rosina's attention. He serenades her, saying he only has love to give. Figaro creates another plan, for Almaviva to gain entry into Dr Bartolo's home, telling him to disguise himself as a drunken solider. Figaro enters Dr Bartolo's home, although Bartolo doesn't believe Almaviva's story.

Act 2
Almaviva disguises himself as the music tutor Basilio's assistant, telling Bartolo that Basilio is sick. Bartolo, falling for this, invites Almaviva inside. Figaro arrives, taking Bartolo into another room, giving Almaviva and Rosina time alone. Almaviva and Rosina plan to elope. While shaving Bartolo, Figaro steals a key from the balcony. Once Figaro and Almaviva leave, Bartolo informs Rosina of Lindora's scheme to secure a marriage between her and Almaviva. Rosina, angered, agrees to marry Bartolo. He leaves to fetch a notary to marry Rosina. When Almaviva and Figaro return, Rosina refuses to leave with them, but agrees when told Lindora is truly Almaviva. They marry and Bartolo, once given Rosina's dowry, is satisfied.

MAIN ROLES
Il Barbiere di Siviglia, Count Almaviva,  - Tenor
Rosina, heiress and ward of Dr Bartolo- Soprano
Dr Bartolo, guardian of Rosina - Baritone
Figaro, and Helper of Count Almaviva - Baritone
Basilo, Music Tutor - Bass

Gran Teatre del Liceu © A. Bofill

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