Organization

Sänger

Bass

Roman Ulybin

Doktor Bartolo

Bariton

Andrej Baturkin

Fiorello

Tenor

Dmitry Nikanorov

Der Graf Almaviva

Dmitry Ulyanov

Don Basilio

Dmitry Kondratkov

Ein Offizier

Mezzosopran

Daria Terekhova

Rosina

Sopran

Veronika Viatkina

Berta

Dirigat

Wolf Gorelik

Regie

Alexander Titel

Bühnenbild

Vladimir Arefiev

Kostümbild

Lichtgestaltung

Damir Ismagilov

Chordirektion

Stanislav Lykov

Stanislavsky and Nemirovich-Danchenko Academic Music Theatre

Italienisch

Il barbiere di Siviglia -  (Der Barbier von Sevilla)

Moskau

Russland

Stanislavsky and Nemirovich-Danchenko Music Theater

Public

Der Barbier von Sevilla

Genehmigt

The action of The Barber of Seville takes place ... Actually, it is not so important when and where. In Beaumarchais, the remarks indicate the “ancient Spanish costumes” of the characters, in Rossini the action is relegated to the 18th century, which for Beaumarchais was not “ancient”, but quite modern to him. In one of the famous performances of the Paris Opera, the story composed by Beaumarchais and Rossini is either about the Turks or about the Moors. In any case, the situations and characters are still the same: the cunning, adventurous commoner Figaro, the Count (we agree that there are counts in many countries today), an elderly man named Bartolo and his young pupil Rosina. The situations and characters are the main thing. It is also important that Gioacchino Rossini, who defined the genre of his opera as opera buffa, wrote a brilliant work full of energy, “typical”, but no less vital ups and downs from this, and his heroes, as well as the heroes of Beaumarchais (as you know, Figaro Beaumarchais completely copied from himself) are quite reliable.

English

Aufführungskredite (Besetzung & Produktionsteam )

Besetzung

Produktionsteam