Organization

Lighting designer

Ivan Pastrovicchio

Chorus master

Massimo Fiocchi Malaspina

Singer

Bass

Eoardo Sgariglia Moresi

Ambrogio

Conductor

Christopher Franklin

Stage director

Alberto Jona

Set designer

Matteo Capobianco

Costume designer

Silvia Lumes

Tenor

Chuan Wang

The Count of Almaviva

Michele Govi

Doctor Bartolo

Baritone

Emmanuel Franco

Figaro

Abramo Rosalen

Don Basilio

Soprano

Giovanna Donadini

Berta

Claudio Zazzaro

Davide Piva

Mezzo-soprano

Magdalena Urbanowicz

Rosina

Diego Savini

Matteo Mollica

Fiorello

An officer

Aya Wakizono

Teatro Coccia

Orchestra

Italian Philharmonic Orchestra

Il barbiere di Siviglia -  (The Barber of Seville)

Novara

Italy

Il barbiere di Siviglia

Public

The Barber of Seville

Approved

Il barbiere di Siviglia Rossini

Staging Rossini's The Barber of Seville is a gamble to make your wrists tremble and at the same time an incredible joy. A bet because every time you try your hand at the great masterpieces you have behind and beside stagings and directions that it is impossible not to know, remember and retrace, now innovative, now mythical, now crazy, now milestones; on the other hand, however, Rossini's writing is pure theater and as soon as the score opens, a perfect scenic score flares up, where every note is a gesture and every gesture is music.

Perfect clockwork mechanism, shared heritage, now that I taste it every day The Barber confirms my vis comicdell'Arlecchino by Goldoni, commedia dell'arte and farce which, however, in turn contains the seeds of a changing world, of a new social class which is taking over power and above all of new values ​​which also involve the making of art and creativity. All this with the immense self-irony of Rossini who even knows how to smile at his own musical mechanisms, at his topoi, as well as at man and at the chaos looming on the horizon.

How to stage it? meanwhile the spaces: from the open to the closed, an almost claustrophobic closed in the end from which one will not be able to escape except with the stroke of genius of Figaro. The story? certainly a generational clash between old and young, and in the middle a new figure who asserts himself in society and in opera, the astute and unscrupulous bourgeois, Figaro precisely. An apparently adamantine mechanism, in reality already cracked by the chaos that intersects the action several times, upsetting everything and inexorably moving us away from the Enlightenment.

A crowded old world , cramped and oppressive, dominated by the Diogenes complex of the landlord, which opposes the outside world defined by transparencyof youth, from fantasy and dreams, but also from the risk of the unpredictable, elements evoked also through the language of shadow theater, in stark contrast to the claustrophobic world of Don Bartolo.

Two colorful worlds where the characters are almost ideophoric puppets , Guido Ceronetti would have said, that is bearers of ideas, requests, feelings, affections, who advance apparently happy and carefree towards the abyss, like Lemmings, in an almost suspended time which is slowly sinking.

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