Organization

Cantante

Tenor

Matthew Newlin

El Conde de Almaviva

Bajo

Misha Kiria

Don Bartolo

Mezzosoprano

Vasilisa Berzhanskaya

Rosina

Barítono

Dean Murphy

Figaro

Soprano

Flurina Stucki

Berta

Tyler Zimmerman

Oficial

Libretto

Cesare Sterbini

Juan de Dios Mateos

Noel Bouley

Aigul Akhmetshina

Samuel Dale Johnson

Patrick Guetti

Basilio

Sung-Kyu Park

Fiorello

Byung Gil Kim

Papel mudo

Clara-Lisette Kesselmann

Notario

Director(a) de escena

Katharina Thalbach

Director(a) orquestal

Matteo Beltrami

Diseñador(a) de vestuario/Figurinista

Guido Maria Kretschmer

Escenógrafo(a)

Momme Röhrbein

Director(a) coral

Thomas Richter

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Others

Choir of the Deutsche Oper Berlin

italiano

Il barbiere di Siviglia -  (El barbero de Sevilla)

Berlín

Alemania

Il barbiere di Siviglia Rossini

Public

El barbero de Sevilla

alemán

inglés

Válido

Only a few works celebrate love, life and opera as unbridledly as IL BARBIERE DI SIVIGLIA by Gioacchino Rossini. Katharina Thalbach's staging fires up the mu...

The story is turbulent: an old curmudgeon wants to marry his ward in order to get their considerable inheritance and takes every possible precaution to block the way for pretty Rosina to get into the outside world - and thus to possible young lovers. But Count Almaviva discovered his love for her long ago. With the help of the bustling barber Figaro, he wants to outsmart the old man, win over Rosina and, moreover, make sure that it is not his title or wealth, but only love that leads the young woman into his arms. Not an easy task for Figaro, because the opponents spare no effort ... In the end love wins and it turns out that all caution was useless!

It is very clear that this story has a lot of comic potential. "But the strangest thing is the music" - says director Katharina Thalbach. “I was thunderstruck by Rossini's artistry and speed. ... During rehearsals I notice again and again how the music hits me in my legs and I involuntarily dance along. It shimmers, tingles and is just fun. And this attitude towards life should be conveyed as much as possible in our production. ”In the colorful ambience of a southern seaside resort, Thalbach unfolds a turbulent panopticon around the bustling Figaro, whose inventiveness overcomes all obstacles in the end.

Pierre Augustin Caron de Beaumarchais (1732 - 1799) invented the figure of the scheming and shrewd barber and dedicated an entire trilogy of comedies to him, the first two parts of which were LE BARBIER DE SEVILLE OU LA PRECAUTION INUTILE (1775) and LA FOLLE JOURNEE OU LE MARIAGE DE FIGARO (1778) became world famous. The third part, L'AUTRE TARTUFFE OU LA MERE COUPABLE, which appeared in 1792, took a back seat to the success of its predecessors, perhaps due to the turmoil of the French Revolution. Although the revolutionary potential of the second part of the comedy in particular is most clearly noticeable in Mozart's ingenious setting - THE WEDDING OF FIGARO - the barber of the first part also has a disrespectful temperament that predestines him to be the main character of a comic opera. Giovanni Paisiello had a resounding success with his setting of BARBIER in 1782, so that Rossini took on an apparently overwhelming role model when he decided to make the same subject again the subject of a comic opera. And yet 34 years after Paisiello's triumph he succeeded in what is perhaps the funniest and most fast-paced opera buffa in opera history.

“It was entirely the Rossinian way, which is most lovingly revealed in BARBER OF SEVILLE. The despisers of Italian music, who also break the baton of this genre, will one day not escape their well-deserved punishment in hell, and are perhaps condemned to hear nothing but fugues by Sebastian Bach for a long time. "( Heinrich Heine )

English

El barbero de Sevilla by Rossini, De (2021/2022), Dirigido por Katharina Thalbach,, Director Matteo Beltrami, Deutsche Oper Berlin, Berlín, Alemania

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