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Певец

Меццо-сопрано

Alessia Nadin

Розина

Баритон

Massimo Cavalletti

Фигаро

Тенор

Pietro Adaíni

Граф Альмавива

Бас

Gabriele Sagona

Базилио

Giovanni Romeo

Бартоло

Сопрано

Giovanna Donadini

Берта

Carlo Checchi

Фиорелло

Дирижер

Nicola Simoni

Режиссер-постановщик

Yamal Das Irmich

Художник-постановщик

Matteo Paoletti Franzato

Хормейстер

Lirico Veneto

Teatro Verdi di Padova

Orchestra

‎Orchestra di Padova e del Veneto

Il barbiere di Siviglia -  (Севильский цирюльник)

Падуя

Италия

Castello Carrarese

Il barbiere di Siviglia Rossini

Public

Севильский цирюльник

Одобрено

A visionary work, with an incandescent rhythm, which speaks of love, but above all of money.

The symbolic nature of the dramaturgy suggests allocating the visual focus to two elements that summarize all this: one is the safe, which resembles a magic box in which the rich Rosina is jealously guarded, held prisoner by Doctor Bartolo, who sees in her alone. the symbol of money. Next to it we find the window of the Figaro shop, with its barber's seat on a pedestal. From here Figaro is under the illusion of managing the lives of the other characters, in reality he is just a pompous individual who offers all kinds of services in exchange for money, but in the end he fails to solve the problems that arise in the course of the story. Our protagonists move around these symbols of greed and pride, each moved by selfish intentions whose main engine is precisely "gold". Rosina and the Count of Almaviva embody selfless love; the two young people are well off and can look into each other's soul. The two take part together with the other characters in this war of intelligence in which Love and Money fight for the final victory. Who will win?

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