Organization

Singer

Bass

Roman Ulybin

Doctor Bartolo

Baritone

Andrej Baturkin

Fiorello

Tenor

Dmitry Nikanorov

The Count of Almaviva

Dmitry Ulyanov

Don Basilio

Dmitry Kondratkov

An officer

Mezzo-soprano

Daria Terekhova

Rosina

Soprano

Veronika Viatkina

Berta

Conductor

Wolf Gorelik

Stage director

Alexander Titel

Set designer

Vladimir Arefiev

Costume designer

Lighting designer

Damir Ismagilov

Chorus master

Stanislav Lykov

Stanislavsky and Nemirovich-Danchenko Academic Music Theatre

italijanščina

Il barbiere di Siviglia -  (The Barber of Seville)

Moscow

Russia

Stanislavsky and Nemirovich-Danchenko Music Theater

Public

The Barber of Seville

Approved

The action of The Barber of Seville takes place ... Actually, it is not so important when and where. In Beaumarchais, the remarks indicate the “ancient Spanish costumes” of the characters, in Rossini the action is relegated to the 18th century, which for Beaumarchais was not “ancient”, but quite modern to him. In one of the famous performances of the Paris Opera, the story composed by Beaumarchais and Rossini is either about the Turks or about the Moors. In any case, the situations and characters are still the same: the cunning, adventurous commoner Figaro, the Count (we agree that there are counts in many countries today), an elderly man named Bartolo and his young pupil Rosina. The situations and characters are the main thing. It is also important that Gioacchino Rossini, who defined the genre of his opera as opera buffa, wrote a brilliant work full of energy, “typical”, but no less vital ups and downs from this, and his heroes, as well as the heroes of Beaumarchais (as you know, Figaro Beaumarchais completely copied from himself) are quite reliable.

English

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Igralska zasedba

Posadka