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Il Barbiere di Siviglia © Wiener Staatsoper GmbH / Michael Pöhn

Rossini Il Barbiere di Siviglia

From 15 April TO 22 April 2021
Wiener Staatsoper - Wien
Program

Rossini : Il Barbiere di Siviglia 160 mn

Cast
  • Conductor
    Stefano Montanari
  • Director
    Günther Rennert
  • Performers
    Figaro: Boris Pinkhasovich
    Rosina: Kate Lindsey
    Il Conte d’Almaviva: Cyrille Dubois
    Dottore Bartolo: Paolo Rumetz
    Don Basilio: Michele Pertusi
  • Venue Info
  • Seating Plan
  • Synopsis

Wiener Staatsoper - Wien Location Opernring 2 - 1010 Wien Autriche

  • Venue's Capacity: 1709

The Vienna State Opéra is much more than just a local institution; it is a vital part of the city's identity and a national landmark.

As of the 17th century, the Hapsburgs lavishly patronized the opéra. Family members Ferdinand III and Leopold I composed for the théâtre, while Charles VI tried his hand at conducting the orchestra, and the Empress Maria-Theresa often mingled with the corps de ballet.

During the 19th century, the Karntnerthor-Theater was demolished and the présent building was constructed on the famous " Ring ". It was here that Mahler, with the help of the set designer Alfred RoUer, imposed a new style of performance, based on audacious stagings and a very précise interprétation ofthe score, which demanded countless rehearsals.

After the fall of the Hapsburgs, Richard Strauss took over the reins of the newly baptized Vienna State Opéra. Curiously enough, only one of Strauss'operas, THE WOMAH WITHOUT A SHADOW, was premiered in Vienna. Clemens Krauss and Karl Bôhm were to follow in his footsteps. Under Bôhm's direction, the Opera created its own Company, which was to serve as a model for several générations. Even the bombs that destroyed the opéra house in 1945 could not prevent singer s such as Elisabeth Schwarzkopf, Irmgard Seefried, Sena Jurinac or Erich Kunz from becoming legendary.

One musn't think that the Viennese applaud only their homegrown stars. In 1955, when Maria Callas came to sing LUCIA DI LAMMERMOOR in the reconstructed building with Karajan conducting, the public blocked traffic to pay tribute to the diva... in the street! Karajan succeeàed Karl Bôhm, and invited many international stars to corne sing on the Viennese stage. Works were henceforth sung in their language of origin, and coproductions with La Scala permitted the disco-very of voices such as that of Mirella Freni in LA BOHEME.

Ioan Holender has suceeded in deftly combining these international distributions with an ensemble System. He has scheduled many works never heard on the Viennese stage, which are now included in the Opera's répertoire, such as Verdi's JERUSALEM and Enesco's OEDIPE, furthering a policy instated under Claudio Abbado's brilliant direction. Whatever changes may now occur, the Opera will continue to stage at least 300 performances per season (an absolute world record ren-dered feasible thanks to the în-house technical crew, which hires no less than 250 people), and the public will continue to applaud the finest orchestra any amateur could wish for in the pit : the Vienna Philharmonie !

Wiener Staatsoper

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

Wiener Staatsoper

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