Il Barbiere di Siviglia (The Barber of Seville)
Opera in 3 ActsMusic by Gioacchino Antonio ROSSINI
Libretto in Italian by Cesare Sterbini
First performance, Rome 1816
Hermann Prey, Luigi Alva, Teresa Berganza
Claudio Abaddo, Teatro alla Scala di Milano
Orchestra and Chorus
Production by Jean-Pierre Ponnelle
Along with Puccini's Madame Butterfly and Verdi's La Traviata, Rossini's Barbiere is among the most popular opera in the Italian repertoire. And like the two, it had a resounding failure on opening night on account of a competing opera of the same name by the irascible and well-established Giovanni Paisiello, whose supporters set up a din of shouting and cat-calls during the premiere.
Il Barbiere is easily Rossini's best opera: the action is fast-paced, the story charming, and it is full of big arias and ensemble numbers. In addition, as the representative opera of the bel canto tradition, it is among the most difficult. The major roles of the Barber (Figaro), Count Almamiva and Rosina are sought-after by the most accomplished opera singers.
The story is simple enough: Count Almaviva disguises himself as a commoner, with Figaro's help, to court and win over Rosina who is held under tight watch by Dr. Bartolo, her guardian who wants to marry her.
Arias:
"Una voce poco fa..."
"Largo al factotum..."
"Dunque io son..."
Luigi Alva as the Count has a ringing top although he struggles with the fast coloraturas, Hermann Prey is excellent, even the character of Bartolo, essayed wonderfully by Enzo Dara, who had to sing probably the fastest bass aria ever, and of course Teresa Berganza who acquits herself very well as the charming Rosina. Rossini wrote the role for a mezzo, but is so popular even sopranos like Callas, Gruberova and Battle like to star in the role so much, although it is Berganza's which is the definitive interpretation.
In the Figaro-Rosina duet in the Second Act, Berganza once said the duet used to frighten her: the dynamics change from fortissimo to pianissimo and the phrasing from legato to staccato in seconds, while the vocal line changes from stately one moment to dancing on pointe the next. In this production, her effortless coloraturas almost steal the limelight away from Almamiva and Figaro.
The Figaro-Rosina-Almamiva trio at the close of the final act is also priceless, with a coloratura in thirds between Rosina and Almaviva!
This is a highly-entertaining reading of Rossini's masterpiece. Abbado used the original instrumentation and Rosina's role has been given over to a mezzo. The whole ensemble remained faithful to the score. Highly recommended.
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