Venue details

St Petersburg Chamber Opera , Galernaya Ulitsa, 33, St Petersburg, 190000

Full Production Cast & Crew

Cast & Crew

Lighting designer
Set designer
Vyacheslav Okunev
Il Conte d'Almaviva (The Count of Almaviva)
Don Bartolo (Doctor Bartolo)



About the work

OCTOBER 30: THE BARBER OF SEVILLE home / Poster / 2021 October / Barber of seville Barber of seville The Barber was staged for the first time at the Argentina theater in Rome under the title Almaviva, or Vain Precaution, to distinguish it from Paisiello's The Barber of Seville, written twenty years earlier. On the first evening, Rossini's new work failed, but was soon appreciated, and today, as for two centuries, "The Barber of Seville" captivates the audience with inexhaustible wit, melodic generosity and virtuoso brilliance of vocal parts. The rapid dynamics of the stage action, the abundance of comic positions, the plot, replete with unexpected twists, seem to have been snatched from life itself. This opera was simply created for the St. Petersburg Opera troupe, which possesses the necessary set of voices and remarkable acting skills. Artistic director of the St. Petersburg Opera, Yuri Alexandrov, known for his extraordinary reading of opera scores, this time staged the production "in the classical style." “You have to come to Rossini,” says the director. “You can't sing poorly Rossini. We came 27 years after the theater was founded. And this is a definite step in the movement of the theater upward. Everyday comedy is always interesting. Love, jealousy, betrayal ... These feelings are close and understandable to people in any era, be it our time, the last century or the one before last ... But we want to raise the everyday history a little. Put it on the sidewalk. How to recreate a love story in palace interiors. Create a holiday atmosphere of lightness, grace, brilliance. We play "Sevillian" in Italian to preserve the stylistic features of the opera, the phonetics of sound and vocals, and Italian words. And although the performance in the original language will deprive the staging of the playful comedy so familiar to the Soviet audience, the situational comedy will remain, when the meaning, and not just the text, gives rise to a smile. The complexity of our work lies in the fact that the opera is "overplayed", filled with cliches. We want to look at it with a fresh eye, therefore the "content" of the performance is modern, and in our theater there are no non-modern performances. However, both the scenery and the costumes are designed in the style of the era. And in this sense, the production is classic. "