Organization

Set designer

Ben Baur

Marie Roth

Dramaturge

Christian Schröder

Chorus master

Patrick Jaskolka

Singer

Tenor

Dmitry Ivanchey

The Count of Almaviva

Bass

Baurzhan Anderzhanov

Doctor Bartolo

Mezzo-soprano

Liliana Sofia Ferreira de Sousa

Rosina

Baritone

Tobias Greenhalgh

Figaro

Almas Svilpa

Don Basilio

Soprano

Christina Clark

Berta

Raphael Baronner

Ambrogio

Stage director

Jan Philipp Gloger

Conductor

Lorenzo Passerini

Demian Matushevskyi

Fiorello

Aalto-Musiktheater Essen

italiensk

Il barbiere di Siviglia -  (The Barber of Seville)

Essen

Germany

Aalto Theatre

Il barbiere di Siviglia Rossini

Public

The Barber of Seville

tysk

Approved

The story is probably as old as the comedy genre itself: an older man wants to marry a young woman who in turn loves a younger man. The young couple find each other, the older man is duped. But probably no one told this story more captivatingly than Gioacchino Rossini, because he lets a character appear in it who causes turbulence and vortex like hardly any other opera character before or after - just Figaro, the barber of Seville. With wit, inventiveness, courage and his heart in the right place, he spins the necessary intrigue to help the right couple to be happy. At the premiere, it didn't even look like a great triumph. Rossini was summoned to Rome in 1815 to premiere his opera Torvaldo e Dorliska.

The great success ensured another composition commission, and the choice quickly fell on a truly revolutionary comedy: "Le Barbier de Séville" by the French poet Beaumarchais. A cat on the stage, the unfortunate and bloody fall of a leading actor and the antipathy of Rossini's opponents made the premiere one of the most famous fiascos in operatic history, which was followed by one of the most famous success stories of the theater with the acclaimed second performance.

While romanticism was already raging all around, Rossini remained a classicist: the breathtaking coloratura in the arias, the irresistible rhythmic momentum - everything seems to have been thrown in with a light hand. In doing so, Gioacchino Rossini brought the tradition of the opera buffa to its culmination. And Heinrich Heine, one of the first prominent German admirers of Rossini, prophesied: "Those who despise Italian music ... will not escape their well-deserved punishment in hell."

English

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