Name: Il barbiere di Siviglia
Start: 2021-09-28T00:00:00.000Z
End: 2022-06-12T00:00:00.000Z
Location: Wiener Staatsoper

Organization

Singer

Baritone

Mattia Olivieri

Figaro

Bass

Peter Kellner

Don Basilio

Soprano

Aurora Marthens

Berta

Stefan Astakhov

Fiorello

Mezzo-soprano

Vasilisa Berzhanskaya

Rosina

Etienne Dupuis

Dramaturge

Nikolaus Stenitzer

Conductor

Stefano Montanari

Tenor

Juan Diego Flórez

The Count of Almaviva

Paolo Bordogna

Doctor Bartolo

Ildar Abdrazakov

Ruth Brauer-Kvam

Ambrogio

Stage director

Herbert Fritsch

Michele Mariotti

Lighting designer

Carsten Sander

Costume designer

Victoria Behr

Set designer

Cecilia Molinari

Giacomo Sagripanti

Levy Sekgapane

Alasdair Kent

Alejandro Pizarro-Enríquez

An officer

Oleg Zalytskiy

Wolfram Igor Derntl

Wiener Staatsoper

Others

Chor der Wiener Staatsoper

Orchestra

Orchestra of the Vienna State Opera

Il barbiere di Siviglia -  (The Barber of Seville)

Vienna

Austria

Gioachino Rossini's opera buffa in 2 acts "Il barbiere di Siviglia" is one of the best known and most popular musical comedies worldwide and also has a long tradition of performances at the Vienna State Opera. Well over 400 times Günther Rennert's witty production has been on the program there in the last 55 years. Now the German actor, director and set designer Herbert Fritsch is staging the popular opera classic in a new way. He is considered a master of intelligent, ambiguous and radically demanding humor and has already put the audience in Vienna's Burgtheater to the test.

An excellent ensemble of singers, which is also characterized by their love of acting, is at his disposal. The celebrated bel canto tenor and Viennese Kammersänger Juan Diego Flórez mimics Count Almaviva and in this production is also allowed to perform the usually deleted large aria »Cessa di più resistere«. The only 27-year-old Russian Vasilisa Berzhanskaya makes her Viennese debut in the role of Rosina, while the Canadian Étienne Dupuis gives the extroverted barber a powerful voice and comedic ability. Paolo Bordogna, as Dr. Bartolo makes humorous and tragic attempts to marry his ward Rosina, and the audience's favorite Ildar Abdrazakov is in a good mood as the scheming music teacher Don Basilio. a mute,

Il barbiere di Siviglia Rossini

Public

The Barber of Seville

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass-baritone

Countertenor

Contralto

Alto

Child vocalist

Continuo

Silent

Spoken

In der Einführungsmatinee von Il barbiere di Siviglia wird die Neuproduktion vorgestellt, Künstlerinnen und Künstler erzählen über ihre Zugänge zu den Rollen und zum Werk, musikalische Beiträge und Filmausschnitte ergänzen die Gespräche und Diskussionen. Zu Gast sind KS Juan Diego Flórez, Vasilisa Berzhanskaya, Paolo Bordogna und Étienne Dupuis ebenso wie der Dirigent Michele Mariotti und der Regisseur Herbert Fritsch. Moderation: Staatsopern-Direktor Bogdan Roščić.

The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for head hair and beard care, but also for pulling teeth and bloodletting. In addition, Figaro's range of responsibilities includes services for lovers and those wanting to get married, such as transporting secret messages or organizing serenades.

Despite his self-promotion, Figaro's ideas prove to be of little use when he is supposed to help Count Almaviva win Rosina's hand. Rosina namely lives locked up with her guardian Bartolo, who wants to secure her fortune by marrying her himself. All of Figaro's plans for how Almaviva could get closer to his beloved fail – and for the audience – in the most amusing ways. Ultimately, money and power make the Count the winner in this fight, which is only a game for himself but bitterly serious for Bartolo.

Gioachino Rossini's opera was originally called Almaviva, o sia l’Inutile Precauzione (Almaviva or The Useless Precaution) – and the main character was Count Almaviva. However, the audience's adoration quickly focused on the extroverted barber. This contributed to the fact that the great aria of the Count’s "Cessa di più resistere" has often been cut because of its length and immense difficulty. In fact, it is not the barber's strategies which escalate again and again, but rather the nobility’s means to power that help his love to win.

The opera is based on the play of the same name by Pierre-Augustin Caron de Beaumarchais, which premiered in 1775. He transformed the character types and plot elements of the Italian impromptu comedy, the Commedia dell’arte, first into an Opéra comique, then into a prose comedy that also included impressions of his journey to Spain. Later, the piece became the first part of Beaumarchais’ Figaro trilogy.

The opera also owes its enormous stage effectiveness to the libretto by Cesare Sterbini, who provided Gioachino Rossini with ideal music-making events, including one of his famous “crescendo rolls”: Bartolo's ally Basilio describes in his »Defamation Aria« in great detail the development of a rumor from a low whisper to the explosion in a “shitstorm!” And in the Finale of Act 1, the opera's text conjures up the image of a “hell forge” that the music delightfully depicts with the sound of hammers and anvils.

English

Als »Faktotum der ganzen Stadt« stellt sich der Barbier von Sevilla vor: als Helfer in allen Lebenslagen also. Wie alle Barbiere seiner Zeit ist er nicht nur für Bart- und Haupthaarpflege zuständig, sondern auch fürs Zähnereißen und den Aderlass. Darüber hinaus umfasst Figaros Angebot auch Dienstleistungen für Verliebte und Heiratswillige, wie heimlichen Brieftransport oder Ständchen im Auftrag.

Seiner Eigenwerbung zum Trotz erweisen sich Figaros Ideen als wenig hilfreich, als er Graf Almaviva dabei unterstützen soll, die Hand Rosinas zu gewinnen. Rosina lebt nämlich eingesperrt bei ihrem Vormund Bartolo, der sich ihr Vermögen sichern will, indem er sie selbst heiratet. Alle Plane Figaros, wie Almaviva seiner Angebeteten näherkommen könnte, scheitern auf – für das Publikum – amüsanteste Weise. Letztlich machen Geld und Macht den Grafen zum Sieger in diesem Kampf, der für ihn selbst ein Spiel, für Bartolo aber bitterer Ernst ist.

Ursprünglich hieß die Oper Almaviva, o sia L’inutile precauzione (Almaviva oder Die nutzlose Vorsicht) – Hauptfigur war also Graf Almaviva. Schnell fokussierte sich die Publikumsliebe jedoch auf den extrovertierten Barbier. Dazu trug bei, dass die große Arie des Grafen »Cessa di più resistere« wegen ihrer Länge und immensen Schwierigkeit oft gestrichenen wurde. Tatsächlich sind es aber nicht die immer wieder eskalierenden Strategien des Barbiers, sondern die Machtmittel des Adligen, die seiner Liebe zum Sieg verhelfen.

Die Oper beruht auf dem 1775 uraufgeführten gleichnamigen Stück von Pierre-Augustin Caron de Beaumarchais. Dieser verwandelte Figurentypen und Handlungselementen der italienischen Stegreifkomödie, der Commedia dell’arte, zunächst in eine Opera comique, dann in eine Prosa-Komödie, in die auch Eindrücke einer Spanieneinreise eingegangen sind. Später wurde das Stück zum ersten Teil von Beaumarchais’ Figaro-Trilogie.

Ihre enorme Bühnenwirksamkeit verdankt die Oper auch dem Libretto von Cesare Sterbini, das Rossini mit idealen Musizier-Anlässen versorgt, so auch für eine seiner berühmten ›Crescendo-Walzen‹: Bartolos Verbündeter Basilio zeichnet in seiner »Verleumdungsarie« detailliert die Entwicklung eines Gerüchtes nach, vom leisen Flüstern bis zur Explosion eines ›Shitstorms‹. Und im Finale des 1. Akts beschwört der Text der Oper das Bild einer »Höllenschmiede«, das die Musik mit dem Klang von Hämmern und Ambossen genüsslich ausmalt.

Deutsch

The Barber of Seville by Rossini, Sâm 04 Iun. 2022, De la (2021/2022), Regizat de către Herbert Fritsch,, Dirijor Stefano Montanari, Michele Mariotti, Giacomo Sagripanti, Wiener Staatsoper, Vienna, Austria

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