The beautiful visual aspect of this production has already attracted thousands of spectators. The mezzo Chiara Amarù with the round timbre and the belcanto tenor Francesco Brito will form an ideal vocal couple, while the performance of the Korean baritone Julien Kim in Figaro is much acclaimed.
A bar is available in the Theater offering few things to eat during the interval.
You may also visit the theater during the day, audioguides are available in english. During day time, the bar aslo serves complete lunch in the beautiful Salle Apolinee.
In the history of opéra, the city of Venice occupies an eminent position. In 1637, here in the doges city, the first public opéra theater was opened to paying members of the public. This was a turning point, breaking with the tradition of court performances, and the opéra house in Venice soon attracted a new audience, presenting works that blatantly alternated scènes ofhigh comedy and high tragedy, butfocusing more importantly on the "prima donna" and soon the "primo uomo". Le. the castrato. A number of theaters subsequently appeared in Venice and in the seventeenth century, the works ofHândel and Alessandro Scarlatti were public triumphs.
In 1787, "La Nobile Società", the owner of a theater that had recently been expropriated, decided to build a new hall designed to please both the eye and the ear. The élégant building, with two main entrances, one on the canal and the other on a piazza, underwent various changes over the years, particularly after the fire in 1836, but, like the Phoenix whose name it bears, it rose from the ashes.
On the night of 29 January 1996, for the second time in its history, fire devastated the theatre. The interior was completely destroyed and only the foundations survived. The theatre is totally reconstructed “the way it was, where it was” and re-open for a week of inauguration on 14 December 2003. The Return of the great La Fenice theatre is officaly in November 2004 with La Traviata, the opera by Verdi which premiered in this exact theatre.
Agreement is universal as to the future of the historié theater which is not only acclaimed as one of the most handsome in Italy, but also holds a long and brilliant record for premiering new works. From Rossini with TANCREDI in 1813 to Luigi Nono with INTOLLERANZA in 1960, ail the great Italian composers have seen their finest works presented here. Verdi premiered five of his opéras to Venetian audiences at La Fenice — ERNANI, ATTILA, RIGOLETTO, LA TRAVIATA and SIMON BOCCANEGRA, and ever since the Italian premières of RIENZI and the RING CYCLE by Wagner, La Fenice hasfeatured many international premières, including three major 20th century opéras: Stravinsky's RAKE'S PROGRESS (1951), Britten's TURN OF THE SCREW (1954) and Prokoflev's THE FIERY AN GEL (1955).
Work Approximate Running Time : 160 mn
SUNG IN ITALIAN
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.
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.
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.
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.
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
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