Mariinsky II (New Theatre)
| 31 January |
| 12:00 |
| 2016 | Sunday |
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Stars of the Stars The Barber of Seville Opera in 2 acts
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| Artists |
Credits |
Conductor Mezzo soprano Baritone Bass-baritone Opera company
Vladimir Nikitenkov, Principal Chorus Master
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Performed in Italian World premiere: Mariinsky II, St Petersburg Premiere of this production: 29 Oct 2014 The performance has 1 intermission Running time: 3 hours 10 minutes
CREDITS
Music by Gioachino Rossini Libretto by Cesare Sterbini after Pierre-Augustin Caron de Beaumarchais' comedy Le Barbier de Sйville, ou Prйcaution inutile
Director: Alain Maratrat
Set Designer: Alain Maratrat
Costume Designer: Mireille Dessingy
Lighting Designer: Pascal Mйrat
Musical Preparation: Larisa Gergieva
World premiere: 20 February 1816, Teatro Argentina, Rome
Premiere of this production: 29 October 2014, Mariinsky II, St Petersburg
What’s the secret of Il barbiere di Siviglia’s eternal youth? Naturally it involves the tradition of comedy in masks, easily recognisable images and situations that are real everywhere and at all times. The plot is simple: some young people want to get married against the wishes of their elderly fathers and guardians. But here the most important characters are the crafty and inventive servants – jacks of all trades, they assist the lovers. But in Rossini’s brilliant opera instead of “maskers” we have real people. All the characters, albeit genetically linked with tradition, are depicted in a new light. Rosina here is no well-educated loving bashful girl; in the original this role was meant for a low-register female voice – typical of operatic practice of the time – and made a “girl with character” of the heroine (it is not by chance that according to Stendhal the first audiences were angered at Rosina appearing as a “war-woman”). In the virtuoso cavatina of the heroine, in line with tradition receiving her lover’s advances, she states that she will be a fine wonderful and faithful wife if... he doesn’t contradict her, of course. Don Basilio is also no conditional masker – instead of a lowly scoundrel and informer we have before us a veritable ideologist of wickedness whose theories are expressed in the famous “calumny aria”.
Pushkin compared Rossini’s sparkling music with the bubbles in a glass of champagne. The most recent stage director, Alain Maratrat, has striven to imbue Il barbiere di Siviglia with a festive mood as well, making the audience participants of his production. The plot of this dynamic production unfolds not just and not so much on-stage – the performers come into the auditorium and truly interact with the audience. The boxes are adorned with flowers and rather than colossal sets there is a blue sky and white drapes, while the costumes are incredibly decorative and varied. The main surprise and the culmination of the opera comes with the appearance of huge towering puppets – these are guests of the masquerade and drunken officers that appear to Bartolo in a dream. Bright and merry, Maratrat’s production is filled with the spirit of Rossini who worked as he lived – overcoming every difficulty with his generous heart. Nadezhda Koulygina
Synopsis
Scene 1
A street in Seville. Count Almaviva is singing a serenade
at the house of Doctor Bartolo. Barber Figaro — a local musician and merry
fellow — appears. Almaviva learns from Figaro that Rosina isn’t Doctor’s
Bartolo’s real daughter. She is his foster daughter and he is going to marry
her. Almaviva asks Figaro to help him to get into the house. Figaro ad vises
Almaviva to disguise himself as a soldier who came to the elector to quarter.
Scene 2
Doctor Bartolo’s drawing room. Rosina is in love with
a young man Lindor — as Almaviva introduced himself—and she is writing a love
letter. Don Basilio — Rosina’s teacher of music — comes. Doctor Bartolo asks his
advice: how to win Rosina’s favour. Don Basilio warns Bartolo: Count Almaviva is
in town and in love with Rosina. He advise Bartolo to resort to slander. In his
opinion slander is the only weapon in a fight with the rival.
Bartolo
willingly accepts his plan and takes him away to discuss how to put the plan
into action. Figaro appears. Rosina asks him to give her letter to Lindor
-Almaviva. Suddenly a drunken soldier enters the house and demands a room for
quartering. On hearing the noise the guards rush into the house.
At Bartolo’s
and Basilio’s request the commander of the guards wants to arrest the drunken
soldier, but on checking his papers he bows respectfully. Everybody is amazed.
Nobody understands what is happening.
Scene 3
Almaviva comes
into Bartolo’s house again. This time he disguises himself as a music teacher
sent to substitute Basilio who is allegedly ill. At the lesson of music Lindor -
Almaviva declares his love to Rosina. Basilio appears. Almaviva slips a purse
into Basilio’s hand to make him go away. The lesson goes on. Bartolo, who
notices the young people declare their love to each other, understands that he
was made a fool. Bartolo turns everybody out of the house.
Scene
4
A heavy storm overtakes Bartolo. At this time Almaviva and Figaro get
into his house. Count Almaviva wants to take Rosina away. However, Bartolo
persuades the girl that Lindor is a deceiver, Rosina breaks her word to be his
wife. Then Almaviva reveals his real name.
Basilio, commissioned by Bartolo,
brings a notary to contract a marriage between the doctor and Rosina. Taking
advantage of Bartolo’s absence, Almaviva bribes Basilio and makes him sign the
marriage contract made by the notary. Bartolo rushes in, but he has no choice
but to consent to their marriage. |
The Barber of Seville
on the playbill |
Mariinsky Theatre: 
Mariinsky-2 (New Theatre): 
Mariinsky Concert Hall: 
