Admin

Organization

Mise en scène

Roman Polák

Décors

Pavel Borák

Costumes

Peter Čanecký

Chorégraphie

Stanislava Vlčeková

Direction de choeur

Pavel Procházka

Direction d'orchestre

Rastislav Stur

Chanteur

Ténor

Martin Gyimesi

Le Comte Almaviva

Basse

Jozef Benci

Bartolo

Mezzo-soprano

Jana Kurucová

Rosine

Baryton

Pavol Remenár

Figaro

Peter Mikuláš

Basilio

Soprano

Denisa Šlepkovská

Berta

František Ďuriač

Fiorello

Igor Pasek

Captain

Peter Kružliak

L'Eveillé

Martin Smolnický

Slovak National Theatre

italien

Il barbiere di Siviglia -  (Le barbier de Séville)

Bratislava

Slovaquie

Slovak National Theatre Historical Building

Il barbiere di Siviglia Rossini

Public

Le barbier de Séville

Valide

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

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage