Admin

Organization

Director(a) de escena

Roman Polák

Escenógrafo(a)

Pavel Borák

Diseñador(a) de vestuario/Figurinista

Peter Čanecký

Coreógrafo(a)

Stanislava Vlčeková

Director(a) coral

Pavel Procházka

Director(a) orquestal

Rastislav Stur

Cantante

Tenor

Martin Gyimesi

El Conde de Almaviva

Bajo

Jozef Benci

Don Bartolo

Mezzosoprano

Jana Kurucová

Rosina

Barítono

Pavol Remenár

Figaro

Peter Mikuláš

Basilio

Soprano

Denisa Šlepkovská

Berta

František Ďuriač

Fiorello

Igor Pasek

Captain

Peter Kružliak

Ambrosio

Martin Smolnický

Slovak National Theatre

italiano

Il barbiere di Siviglia -  (El barbero de Sevilla)

Bratislava

Eslovaquia

Slovak National Theatre Historical Building

Il barbiere di Siviglia Rossini

Public

El barbero de Sevilla

Válido

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

Créditos de presentación (Reparto & Equipo )

Elenco

Equipo