Admin

Organization

Stage director

Roman Polák

Set designer

Pavel Borák

Costume designer

Peter Čanecký

Choreographer

Stanislava Vlčeková

Chorus master

Pavel Procházka

Conductor

Rastislav Stur

Singer

Tenor

Martin Gyimesi

The Count of Almaviva

Bass

Jozef Benci

Doctor Bartolo

Mezzo-soprano

Jana Kurucová

Rosina

Baritone

Pavol Remenár

Figaro

Peter Mikuláš

Don Basilio

Soprano

Denisa Šlepkovská

Berta

František Ďuriač

Fiorello

Igor Pasek

Captain

Peter Kružliak

Ambrogio

Martin Smolnický

Slovak National Theatre

italià

Il barbiere di Siviglia -  (The Barber of Seville)

Bratislava

Slovakia

Slovak National Theatre Historical Building

Il barbiere di Siviglia Rossini

Public

The Barber of Seville

Approved

We divide operas according to various criteria: tragic and comic, belcant, for some we emphasize that they are musical dramas, others bear in their name the place of their origin, such as the great French opera. If we were to responsibly include Rossini's work Barbier of Seville, the most apt designation would be - hunting. Indeed: in this comedy, the author brilliantly plays out comic situations, offers us a wide range of human tips that you just can't find, and presents all the storylines to the viewer as properly tangled spaghetti with a dose of spicy ingredients! Under his masterful hands is the story of Rosina's inmate, who is jealously guarded by her tutor Dr. Bartolo, and who he still gets, with the help of the fucking barber Figaro, young Count Almaviva - well, this seemingly ordinary story turns into the fireworks of original musical and situational ideas under the hands of Master Rossini. And the hunting Rossini, who often plays with completely banal musical forms and techniques without any embarrassment, does so with such charm that it has not hindered anyone for two hundred years and on all the opera stages in the world!

English

Crèdits de representació (Repartiment i equipatge )

Repartiment

Tripulació