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Národní divadlo (National Theatre)

National Theatre Prague

Dirigent

Dirigent (+6)

Jaroslav Kyzlink

Jan Chalupecký

Regie

Magdalena Švecová

Bühnenbild

Bühnenbild (+4)

David Janošek

Kostümbild

Kateřina Štefková

Choreographie

Regie (+1)

Martin Pacek

Lichtgestaltung

Pavla Beranová

Chordirektion

Pavel Vaněk

Dramaturg

Dramaturg (+2)

Beno Blachut

Tenor (+2)

Martin Šrejma

Der Graf Almaviva

Bariton (+4)

Svatopluk Sem

Figaro

Bariton (+2)

Daniel Kfelíř

Fiorello

Bass

Anton Eliaš

Ambrogio

Orchestra

Ópera Checa de Praga

Chorus

Prague National Theatre Chorus

Bass (+3)

Jiří Sulženko

Doktor Bartolo

Bass-Bariton (+3)

Miloš Horák

Mezzosopran (+3)

Arnheidur Eiriksdottir

Rosina

Mezzosopran (+4)

Michaela Zajmi

Bass (+2)

Zdeněk Plech

Don Basilio

Roman Vocel

Sopran (+1)

Lucie Hajková

Berta

Yukiko Šrejmová-Kinjo

Tenor (+3)

Petr Nekoranec

Bariton (+3)

Pavol Kubán

Lukáš Bařák

Bass-Bariton (+6)

Adam Plachetka

Dmitry Ivanchey

Rossini’s Il barbiere di Siviglia is one of the most acclaimed comic operas of all time. It is extremely popular owing to catchy melodies, as well as its being based on Beaumarchais’s brilliant play, the first of his comedies featuring the character of Figaro, a witty servant, and his master, Count Almaviva. Yet unlike in Mozart’s no less famous Le nozze di Figaro, with the two men getting embroiled in conflict, in Rossini’s setting they plot together to attain the count’s goal – winning the heart of the fair Rosina.
For over two centuries, Gioachino Rossini has been one of the most celebrated opera composers, and it might even have been the case if he had written nothing but Il barbiere di Siviglia. Both its genesis and premiere were connected with all kinds of twists and turns, which accompany many a play and opera. The piece had to be completed hastily, rehearsed and staged even more hastily; it was a setting of a literary work that had been used several times; the premiere was poorly received and affected by scandal, etc. In hindsight and knowing the fates of other creations, such circumstances would seem to be the best prerequisite for future success. Four years after the opera’s world premiere, in 1816 at the Teatro Argentino in Rome, Il barbiere di Siviglia was first presented, in German translation, at the Estates Theatre in Prague, which in 1825 staged the piece in Czech, owing mainly to the composer and conductor František Škroup (known primarily for creating the melody of the Czech national anthem), who would later on also give Czech premieres of operas by Wagner and others. The Provisional Theatre included Il barbiere di Siviglia in its repertoire during its very first season. Later on the opera was also undertaken by the National Theatre, which to date has adapted it in more than ten productions.

The newest production was entrusted to Magdalena Švecová, who has directed an adaptation of Smetana’s The Bartered Bride that ranks among the longest performed in the National Theatre’s history. The costumes have been created by Kateřina Štefková, the scenery by David Janošek. The score was enthusiastically undertaken by Jaroslav Kyzlink, the music director of the National Theatre Opera.

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