Name: Il barbiere di Siviglia
Start: 2005-01-13T00:00:00.000Z
End: 2005-01-29T00:00:00.000Z
Location: Teatro Real

Organization

Tenor

Juan Diego Flórez

Hrabia Almaviva

Lawrence Brownlee

Bruno Praticò

Don Bartolo

Carlos Chausson

Mezzosopran

María Bayo

Rozyna

Laura Polverelli

Baryton

Pietro Spagnoli

Figaro

Ruggero Raimondi

Don Bazylio

Ildebrando D'Arcangelo

Marco Moncloa

Fiorello

Sopran

Susana Cordón

Berta

Dyrygent

Gianluigi Gelmetti

Reżyseria

Emilio Sagi

Scenografia

Llorenç Corbella

Kostiumy

Renata Schussheim

Reżyseria światła

Eduardo Bravo

Przygotowanie chóru

Jordi Casas Bayer

Enrique Sánchez Ramos

Oficer

Teatro Real de Madrid

Il barbiere di Siviglia -  (Cyrulik sewilski)

Madryt

Hiszpania

Teatro Real

With an excellent cast led by Juan Diego Flórez, María Bayo, Pietro Spagnoli and Ruggero Raimondi, this production of “Il barbiere de Siviglia”, first performed at the Teatro Real Madrid in January 2005, was conducted by the great Rossini expert Gianluigi Gelmetti and staged by Emilio Sagi, Artistic Director of the Teatro Real from 2001 to 2005.

In this production, conceived as an ingenious “folie organisée”, everything is in movement, nothing is certain, including the set (completely white). This constantly changes and transforms itself in full view of the audience, to create the different scenes of the opera.

The cheerful, witty and extrovert nature of the people of Seville is a permanent element throughout the opera, as seen in the meticulous performances of the main cast (all excellent actors), the chorus and the actor-dancers. The opera becomes an immense choreography where the set and props are part of the dance.

Although the period is not exactly defined, the set design suggests the 18th century, an era of upheaval when the rigidity of the Ancien Régime gave way to the Enlightenment, and the seeds were sown for what was to come: the revolution of the bourgeois.

Colour and lighting become part of the drama rather than mere set-dressing: everything is in black and white.  There is only a touch of colour with the appearances of Rosina and her rebellious joie de vivre. This is quickly wiped away by Bartolo’s servants.

Finally, in the “tempesta” a multicoloured rain transforms the monochrome set, and more colours gradually emerge as the plot reaches the denouement.

The lively, bustling streets and spontaneous nature of the local people of Andalusia, with their flamenco-inspired dances and gestures, are an essential part of the choreography of the opera. The audience is drawn in with the opera’s surprises in a humorous theatrical breach of the fourth wall.

Emilio Sagi's delightful version of the legendary Barber of Seville.

At dawn Lindoro and a band of street musicians are serenading the window of Rosina. Figaro, the Barber of Seville arrives and recognizes his former master in disguise: Count Almaviva. Almaviva fell in love with Rosina and explains he wants to seduce her with his qualities and not with his money. The cunning Figaro is here to help Count Almaviva get inside the doctor's house who keeps Rosina locked in, in order to marry her.

This rendition of one of the most successful operas of all times is enriched by a bright distribution which distinguishes itself for its musicality as much as for its dramatic expression. The Spanish soprano Maria Bayo returns to one of her signature role as Rosina, opposite Juan Diego Florez, the Rossini expert tenor. The title role is embodied by the lively and tasteful Italian baritone Pietro Spagnoli, while Ruggero Raimondi and Bruno Pratico reconcile the audience with the unpleasant couple Don Basilio and Don Bartolo.

Il barbiere di Siviglia Rossini

Public

Cyrulik sewilski

Approved

Broszura spektaklu

Dalsza lektura