"The Barber of Seville" - one of the best comic operas - was written in an amazingly short time for the New Year's carnival in Rome. The opera was composed and rehearsed almost simultaneously. True, the composer partially used the material of his more early works, but the originality and freshness of the opera did not suffer from this.
The plot is based on the first part of the famous Beaumarchais trilogy about Figaro - “The Barber of Seville or A futile precaution" Many operas were written on this plot before Rossini. Among them, by far the most popular was Paisiello's opera. Its success was so great that many considered Rossini’s decision to use the same plot to be impudent.
The premiere of the opera was a failure. Paisiello's supporters organized a scandal unprecedented in the history of the opera house. Fearing being booed by the temperamental Italian public, Rossini fled after the first act. However, the very next performance, where an ordinary, open-minded audience was present, brought the new opera well-deserved success. The audience even staged a torchlight procession to the house of Rossini, who this time, just in case, did not show up for the production.
Very quickly, The Barber of Seville was recognized in other European countries, including Russia. To this day it is one of the most repertoire operas. It was performed by the most outstanding singers world, for example F. Chaliapin in the role of Basilio.
Characters:
BARTOLO, MD, Rosina's guardian (bass)
BERTHA, his housekeeper (mezzo-soprano)
ROZINA, his pupil (mezzo-soprano)
BASILIO, her music teacher (bass)
FIGARO, barber (baritone)
COUNT ALMAVIVA (tenor)
FIORELLO, his servant (bass)
NOTARY, SOLDIER, MUSICIANS
Time of action: XVII century.
Location: Seville.
Summary.
The beautiful young orphan Rosina is forced to live with her guardian Dr. Bartolo, from whose importunity the poor girl does not know where to go. The old man takes aim at Rosina’s considerable fortune, and he himself is not averse to remembering his youth and getting such a beauty as his wife. But Rosina’s heart is occupied - and the reason for this is a young man in love with her, about whom she really knows nothing. He appears dressed as a modest bachelor, although in reality it is the rich Count Almaviva. The young people cannot meet and talk - the old guardian is constantly watching the beautiful pupil and feels threatened by his rival.
The love of Count Almaviva and Rosina is helped by the barber-barber Figaro who happens to be nearby. With cunning and dexterity, he finds opportunities to penetrate the house, pass a note, and eliminate Dr. Bartolo at the right moment - in a word, he is the most irreplaceable person in this cheerful comedy. And everything ends happily: Rosina and Count Almaviva are now together forever. And they owe their happiness, of course, to the clever Figaro.
The work of Rossini (1792-1868) developed at a turbulent time when backward, divided Italy, under the triple oppression of Spain, France and Austria, embarked on the path of national liberation struggle. The revolutionary atmosphere revived all areas of Italian art, including the opera house. It has become a real platform for promoting advanced ideas. A new one has appeared opera school, reflecting these ideas. Rossini stood at its origins. Having summarized all the best in Italian opera of the 18th century, it was he who created the basis for its further fruitful development.
For my creative life Rossini wrote 38 operas in the genres of seria and buffa. Thanks to Rossini, Italian opera regained its former greatness.
By nature, Rossini was unusually generously gifted: he was handsome, charming and witty, had a wonderful voice, and composed with incredible ease (“The Barber of Seville” was written in 18 days) and in any setting.
"The Barber of Seville"- one of the best comic operas - was written in an amazingly short time for the New Year's carnival in Rome. The opera was composed and rehearsed almost simultaneously. plot laid the foundation for the first part of Beaumarchais's famous trilogy about Figaro - "The Barber of Seville or a Vain Precaution"
Premiere the opera failed. Very quickly, The Barber of Seville was recognized in other European countries, including Russia. Libretto The opera was written by Cesare Sterbini.
The opera glorifies vitality and enterprise, the tender feelings of lovers, and ridicules hypocrisy and hypocrisy - this is its progressive meaning.
Genre opera - buffa, of which Rossini was an unsurpassed master. national traditions opera buffa:
1 . Typical everyday conflict and images characters, reminiscent of the heroes of an Italian folk comedy: the happiness of a couple in love is hampered by a boring guardian who dreams of a considerable inheritance for his pretty ward. He is helped by an old friend - a petty scoundrel and hypocrite. And on the side of the lovers is a clever and resourceful servant, similar to many smart servants who are much more enterprising than their masters (such as Truffaldino from Goldoni’s comedy “The Servant of Two Masters”). I also remember the characters of the first buffa opera - “The Maids and Mistresses” by Pergolesi. Clear lines can be drawn from Serpina to Rosina, from Uberto to Bartolo.
2 . It is traditional to alternate song numbers (solo and ensemble) with secco recitatives.
3 . The typical buffa 2-act structure with characteristic final ensembles and the rapid dynamics in the development of the action are also preserved: events unfold with extraordinary speed, there is nothing superfluous, everything leads to the goal. Rossini knew how to structure the action in such a way that the listener’s interest did not weaken for a minute, growing all the time, it was not for nothing that he was called the “maestro of crescendo.”
4 . Nationality also comes from the traditions of comic opera musical language, reliance on genre and everyday forms (from tarantella to waltz). At the end there is a Russian melody folk song“And it was time to fence the garden”
At the same time, the composer not only repeated the traditional techniques of the old buffa opera, but updated and enriched them. His great merit was transferring Mozart's operatic achievements to Italian soil.
1 . The ensemble, like the recitative, becomes the focus of the action.
2 . And just like Mozart, even in a complex ensemble interweaving of voices, the characters of the characters are clearly distinguished. The main characteristics Figaro- “bubbling” cheerfulness and inexhaustible optimism. Rossini based his musical character on lively danceability and energetic marching. Cavatina is complex. In form, cavatina is a free composition based on several themes, the implementation of which does not follow any traditional schemes. The orchestra plays a huge role.
Throughout the opera, Figaro appears in different situations, interacting with other characters. New touches appear to complement this image, but they hardly change it qualitatively.
Rosina- not only “an imaginary simpleton, but a girl fighting for her happiness. Rossini emphasized the new function of the chief female image, entrusting the role of Rosina to a coloratura mezzo-soprano Rosina is beautiful, cheerful, and although she is confined within four walls by her guardian, woe to him who angers her. In her very first aria, she declares that she is meek only to certain limits. If Rosina wants something, she will be able to insist on her own.
Rosina’s main number is her cavatina from the 2nd picture “In the Silence of Midnight”, which contains characteristics of different aspects of her appearance. It has 3 parts: I - cantilenna, light - conveys the dreaminess of the girl; II is based on graceful danceability (“I’m so resigned”); Part III (“But offend yourself”) sparkles with virtuosity.
Graph Almaviva - a lyrical character, a young and ardent lover, and not a dissolute feudal lord, as in Beaumarchais’s comedy. The basis of its characteristics is the lyrical cantilena, decorated with virtuosic flourishes that are typical of the bel canto style. These, first of all, are both “serenades” performed by Almaviva under Rosina’s windows in the 1st scene: cavatina “Soon the east will shine brightly with golden dawn” (first portrait characteristic this character) and the canzone “If you want to know.” Their music is close to lyrical Italian songs: rounded, flexible intonations, verse form.
In the characteristics negative characters Rossini's wit sometimes takes on satirical forms. Such is the famous aria about the slander of Don Basilio, which contains a whole philosophy of life (praise of meanness). It is based on the gradual growth of one topic. Insinuating at first, the melody, carefully creeping upward, seems to “swell” with each performance. It is accompanied by a steady dynamic and orchestral crescendo, reaching thunderous peals at the climax (“and like a bomb exploding”). Basilio, presenting his “theory of slander,” is absolutely serious, like the hero of an opera seria, but in this situation his ardor produces a comedic effect. Like Figaro's cavatina, the aria about slander is constructed freely. Bartolo With the leading role vocal beginning in The Barber of Seville the importance of the orchestral part is exceptionally great. The orchestra helps to emphasize the comedy of a particular situation, clarify the subtext, and make the character’s characteristics more expressive. The main orchestral number of the opera is a picture of a thunderstorm from 4 scenes.
; libretto by C. Sterbini based on the comedy by P. -O. Carona de Beaumarchais "The Barber of Seville, or a Vain Precaution."
First production: Rome, Teatro Argentina, February 20, 1816.
Characters: Count Almaviva (tenor), Bartolo (bass), Rosina (mezzo-soprano), Figaro (baritone), Don Basilio (bass), Fiorello (baritone), Ambrogio (bass), Berta (soprano), officer (bass); alcalde, notary, alguacils, soldiers, musicians.
Act one
Picture one. Square in Seville at dawn. In front of the house of Dr. Bartolo, Count Almaviva and a group of musicians sing a serenade to Bartolo’s pupil Rosina (“Ecco ridente in cielo”; “Soon the east will shine brightly with a golden dawn”). Nobody goes out to the balcony. The barber Figaro, an old acquaintance of the count, appears (“Largo al factotum”; “Place! Open up wider, people!”). Rosina comes out onto the balcony and, vainly held by Bartolo, throws a note to the Count. The Count does not want to reveal his high position, and Figaro advises him to call himself the student Lindor. Then he gives the Count cunning advice to pretend to be a drunken soldier and demand an inn in Bartolo’s house (“All’idea di quel metallo”; “One thought - to get metal”).
Picture two. A room in Bartolo's house. Rosina is eager to pass on a note to Lindor (“Una voce poco fa”; “In the silence of midnight”). Bartolo wants to quickly marry her, especially since the music teacher Don Basilio tells him that he saw Almaviva, Rosina’s longtime admirer, in the city. Against him, Basilio advises, slander must be spread (“La calunnia e un venticello”; “Slander is sweet at first”). Rosina manages to pass a note to Figaro, who is surprised by her resourcefulness (duet “Dunque io son”; “Is it me? Oh, that’s lovely”). Bartolo notices that Rosina was writing a letter and bursts into anger (“A un dottor della mia sorte”; “It’s not for nothing that I am a keen-sighted doctor”). The Count, disguised as a soldier, bursts in (“Ehi di casa”; “Hey, a lodging apartment”). He also manages to pass a note to Rosina, but this does not escape Bartolo's attention. A commotion arises, soldiers come running to restore order, but the count quietly says his name to the officer, and he respectfully greets him amid everyone’s surprise.
Act two
Picture one. Bartolo is sitting in his office. A young man appears and calls himself Don Alonso: he came to give a music lesson to Rosina instead of the sick Basilio (duet “Pace e gioia sia con voi”; “May peace and joy be upon you”). It's the Count in disguise again. Figaro shaves the doctor, trying to take possession of the key to Rosina's room for a future escape. An unsuspecting Don Basilio appears, Figaro convinces him that he looks very bad and should immediately go to bed. During a music lesson, Bartolo begins to be overcome by suspicions, finally he reveals the truth and disperses everyone. The old maid Bertha talks about her master's stupid love (“Il vecchiotto cerca moglie”; “The old man decided to get married”).
Picture two. Bartolo, wanting to speed up the wedding, sends for a notary. Rosina, whom he convinced of Lindor's deception, agrees to marry her guardian. Suddenly Figaro and the Count appear, revealing his true name. Rosina is happy (terzetto “Ah, qual colpo inaspettato”; “Ah, I’m glad”). The lovers try to escape, but it turns out that Bartolo has removed the ladder placed against the window. It’s okay, Figaro reassures them, it’s just a notary and Basilio as a witness. The marriage contract is immediately signed by Rosina and Almaviva. When Bartolo returns with the guards, the deed is already done. The old man, however, is consoled by the fact that Almaviva refuses Rosina's dowry. Figaro leaves: he did everything he could (ensemble with choir “Di si felice innesto”; “Cares and worries and a wedding in conclusion”).
G. Marchesi (translated by E. Greceanii)
THE BARBER OF SEVILLE (Il barbiere di Siviglia) - a comedy by G. Rossini in 2 acts (3 scenes), libretto by C. Sterbini based on the comedy “The Barbie of Seville, or Vain Precaution” by P. Beaumarchais. Premiere: Rome, Teatro Argentino, February 20, 1816
The comedy by P. Beaumarchais (1775), in which Figaro first appeared on stage, aroused keen interest. In 1782, a performance of G. Paisiello’s opera “The Barber of Seville” took place in St. Petersburg, which had big success. Other composers also wrote operas on the same plot, for example F. L. Benda (1776), N. Izouard (1796), etc. Still, the most popular opera adaptation of “The Barber of Seville” before Rossini remained the work of Paisiello - one of the most perfect examples opera buffa of the 18th century. Its popularity was so great that Rossini's decision to write music for this plot was considered impudent.
Rossini in 1816 undertook to write a new opera for the carnival in Rome, but the censorship that was rampant in Italy prohibited all the librettos that were proposed to him. There was very little time left, and then it was decided to use a censored topic. This is how the idea of “The Barber of Seville” arose. Rossini turned to Paisiello for permission, and he responded with kind consent, without doubting the failure of the arrogant youth's opera. The new libretto was written by C. Sterbini, using not only Beaumarchais's comedy, but also G. Petrosellini's libretto for Paisiello's opera. Rossini generally composed quickly. But the speed with which The Barber of Seville was written is amazing (although the composer used many of his previous works). Composition and instrumentation took thirteen days. The opera was originally called Almaviva, or Vain Precaution.
The premiere ended in failure. The reasons were a combination of unfavorable circumstances: the performer of Almaviva’s part forgot to take his guitar with him during the serenade, Don Basilio caught on a nail and could not move; to top it all off, a cat ran onto the stage and, blinded by the light, rushed around in search of a way out. All these “accidents” were deliberate, as was the sharply hostile behavior of the audience that accompanied the opera from the first bars. Paisiello's supporters and Rossini's enemies, representatives of rival enterprises, organized a scandal unprecedented in the annals of the theater. This scandal disrupted the performance (Rossini fled after the first day). Subsequent performances brought the opera success.
Brilliant music has opened new paths in the history of the genre; it combines daring slapstick, lyricism, drama, sparkling fun and satire. Real people took the place of the old opera masks. Of course, there is no need to compare Rossini’s work with Mozart’s “The Marriage of Figaro,” but Rossini’s masterpiece is closer to it than to Paisiello’s work. Until then, opera buffa had never known anything equivalent to the finale of the first act (in modern performances, the second act) in terms of the complexity and variety of use of the ensemble, just as it had never known such emotional richness and vivid character. Rossini used many of the techniques and means of opera seria in opera buffa, without burdening its style. Therefore, his laughter is not only carefree joyful and bright, it also sounds accusatory - for example, in an aria about slander. And the whole image of Don Basilio is by no means a conventional comic mask. This is not a petty scoundrel, a slanderer, an informer, but an ideologist of meanness. All the characters in the opera, although genetically linked to tradition, are shown in a new light. Thus, Rosina is not the “imaginary simpleton” that Paisiello portrays her as, but a girl fighting for her happiness. Rossini emphasized the new function of the image by writing the part of the heroine for mezzo-soprano: usually contralto and mezzo-soprano were assigned the role of passionate, impetuous natures. It is no coincidence that the first listeners of the opera, according to Stendhal, were indignant at the fact that the composer turned Rosina into a “boy-woman”. Richness and variety of colors distinguish the images of all characters. Rossini generously used folk song and dance melodies, genre and everyday forms in his music. The opera is rich in dance rhythms - from saltarella to waltz. The finale features the melody of the Russian folk song “Oh, why was there a need to fence the garden”: Rossini used the music of his own cantata “Aurora”, dedicated to the widow of the great Russian commander M. Kutuzov.
“The Barber of Seville” is the best of Rossini’s comic operas and perhaps the best comic opera of the 19th century. to Verdi's Falstaff. Soon it was staged in other cities in Italy, and then on other stages in Europe, becoming one of the most popular. The world's greatest female singers performed there, from P. Viardot-Garcia, G. Roubini, A. Tamburini, L. Lablache to our contemporaries. In Russia, “The Barber of Seville” was first performed in Odessa in 1821 by an Italian troupe, on the Russian stage - at the St. Petersburg Bolshoi Theater on November 27, 1822 (G. Klimovsky - Almaviva, I. Gulyaev - Bartolo, V. Shemaev - Figaro, N. Semenova - Rosina, E. Sandunova - Marcelina, A. Efremov - Don Basilio). On January 17, 1829, the opera was presented in St. Petersburg by an Italian troupe. On January 31, 1831, a resumption took place on the Russian stage; the roles were performed by O. Petrov - Figaro, N. Dur - Bartolo, A. Efremov - Basilio, S. Birkina (Karatygina - 2nd) - Rosina; in subsequent performances L. Leonov - Almaviva, E. Lebedeva, M. Stepanova - Rosina performed.
“The Barber of Seville” was performed with great success by the troupe of the Imperial Italian Opera in St. Petersburg in the 40s; The performances featured P. Viardot - Rosina (this was the debut of a wonderful singer in Russia), G. Roubini - Almaviva, A. Tamburini - Figaro. The role of Rosina was later performed by coloratura sopranos, including Giulia Grisi and A. Patti. The Italian “The Barber” temporarily replaced the opera from the Russian repertoire. Rossini's work was not staged on the Russian stage from 1839 to 1882, when it was great success renewed (P. Lodius - Almaviva, F. Stravinsky - Bartolo, M. Koryakin - Don Basilio, I. Pryanishnikov - Figaro, M. Slavina - Rosina). It was a performance that was exceptional in every way. The role of Rosina, according to the author's plan, was sung by a mezzo-soprano.
The best performers of the main roles on the domestic stage are I. Melnikov, I. Tartakov, O. Kamionsky, A. Bragin, M. Karakash (Figaro); F. Shalyapin, M. Koryakin, P. Zhuravlenko, G. Bosse, A. Pirogov, M. Reisen (Don Basilio); S. Khromchenko, S. Lemeshev, I. Kozlovsky (Almaviva). The role of Rosina in Russia was firmly entrenched in the light sopranos, among whom E. Pavlovskaya, E. Mravina, L. Lipkovskaya, A. Nezhdanova, and R. Gorskaya stood out. If outstanding Russian singers successfully competed with Italian singers in conveying the main roles, then F. Chaliapin, who defined the stage tradition of the role of Don Basilio, was beyond comparison.
In the 20th century For the first time in many years, the domestic public heard the role of Rosina in its original form, performed by mezzo-soprano F. Cossotto, during a tour of the La Scala theater in Moscow in 1964. Among the best productions last decades- performance at the Salzburg Festival in 1968 (under the direction of C. Abbado, director J. P. Ponnelle). The best performers of the role of Rosina in the 20th century. - C. Supervia, M. Horn and C. Bartoli, roles of Figaro - T. Ruffo, T. Gobbi and L. Nucci.
In 1947, the opera was filmed directed by M. Costa with T. Gobbi, F. Tagliavini and I. Tayo in the main roles; Rosina was played by I. Jenny, and L. Palyugi sang. This was the first full-length opera film.
The comedies of Pierre Beaumarchais “The Barber of Seville” and “The Marriage of Figaro”, according to historians, were the forerunners French Revolution, as they were extremely relevant and written on the topic of the day. Therefore, it is not surprising that, for example, the plot of the first of these plays repeatedly became the basis for librettos for operas. In particular, in 1816, the Italian composer Gioachino Rossini wrote a similar work. “The Barber of Seville” in his version failed during the premiere. However, today some arias from this work can be heard at many concerts of popular opera music.
Biography of Rossini before 1816
Before telling how the opera “The Barber of Seville” was written, summary which is presented below, it is worth remembering who its author was. So, Gioachino Rossini was born in 1792 in the Italian city of Pesaro, in the family of a singer and trumpeter. His abilities in the field of music were discovered very early, and his parents immediately sent the boy to study in Bologna.
The young composer’s first opera (“The Marriage Bill”, 1810) attracted the attention of the public to him, and in the next 2 years Rossini had no shortage of orders. Then he wrote the works “Tancred” and “Italian in Algeria”, which were followed by an invitation to work for the La Scala theater.
Background to “The Barber of Seville”
In 1816, Gioachino Rossini entered into an agreement with the Roman Teatro Argentino, under which he undertook to write a new opera for the carnival. According to the practice existing at that time, the libretto had to be submitted to the censors for approval, but none of the options received approval. When there was almost no time left before the carnival, the composer remembered Beaumarchais’s comedy “The Barber of Seville,” which had already become the basis of the plot three times before opera performances on the Italian stage, and decided to go the already beaten path, just so as not to break the contract.
The process of creating an opera and its premiere
Immediately after receiving permission from the censors, Rossini began work and completed it in a record time of only 13 days. As for the libretto, according to which the setting of the opera is Seville, and the time is the end of the 18th century, it was written by Cesare Sterbino.
This is how the opera “The Barber of Seville” appeared, which over the almost 200 years of its existence has gone through hundreds of productions. However, the premiere of Rossini's brainchild was extremely unsuccessful. The fact is that in 1782, a work with the same plot was written by the luminary of Italian opera Giovanni Paisiello, who had a lot of fans. Appearance new version seemed the last disrespect for the personality of the elderly master, and they booed the actors performing Rossini's arias. Despite the failure during the premiere, the second performance still took place, and it was conducted not by the upset author, but by the brilliant Paganini himself. The result was just the opposite, and admiring spectators even staged a ceremony in honor of Rossini.
Overture
Not many people know that Rossini’s opera “The Barber of Seville” as it is known today is different from the original. In particular, instead of the familiar overture preceding the appearance of the characters in the play, during the premiere the audience was offered a unique medley of Spanish folk dance melodies, which was supposed to recreate the atmosphere of Seville. What happened next was simple Detective story: before the second performance, it turned out that the score had mysteriously disappeared. Then Rossini, who had been lazy in Italy, simply rummaged through his papers and discovered an overture written for an unfinished work. From then on, it began to sound every time the next performance of the opera “The Barber of Seville” began. Moreover, the same melody in different variations had previously been used by the composer during musical performances.
“The Barber of Seville.” Summary of Act I: Scene I
Rosina lives in the house of Doctor Bartolo, with whom Count Almaviva falls in love at first sight. He invites musicians to sing a serenade under her windows. However, the girl does not go out onto the balcony, and the young man is disappointed. Then Figaro appears, a local merry fellow and barber, who is known to the count as a famous rogue. Almaviva enters into a conversation with him and asks for a reward to help him marry Rosina. Figaro happily agrees. The men begin to draw up a plan, but then Bartolo comes out of the house, talking to himself and revealing his intention to immediately marry his pupil. He leaves, and the count, convinced that this time nothing will prevent him from seeing his beloved, again sings a serenade on behalf of the singer Lindor. Rosina first answers him from the balcony, but then suddenly runs away. Figaro advises Almaviva to disguise himself as a soldier and go to Bartolo. There the count must portray a drunken man who is sure that he was sent to billet in this very house.
Events take place in Bartolo's house. Scene II begins (Act I, opera “The Barber of Seville”) with Rosina’s aria, in which the girl sings about her love for Leander. Then Bartolo comes home and a little later Basilio, the girl’s music teacher. He tells the doctor that the town is gossiping about Rosina and Almaviva as lovers. Bartolo is outraged, and Basilio sings the famous aria about slander. In the next scene, Figaro tells the girl about Leander's love and advises her to write young man letter. It turns out that Rosina has already done this, and the barber gladly takes on the duties of a postman. Bartolo guesses everything and puts the girl under lock and key.
Almaviva appears, disguised as a soldier. Despite the doctor's assurances that his house is cleared of habitation, the count refuses to leave and quietly makes it clear to Rosina that he is her admirer Lindor. Bartolo tries to kick out the “soldier”, who begins to make trouble. Basilio, Figaro and the maid also join in the verbal skirmish. The noise attracts the attention of the city guards, but Almaviva is not arrested as he gives his name and title to the officer.
“The Barber of Seville”: contents of scene I of act II
Almaviva appears to Bartolo in the guise of a music teacher, who supposedly came to replace the sick Basilio. Thanks to this deception, he “gives a lesson” to Rosina. Bartolo does not like their duet, who decides to show the student and the “teacher” what songs to sing and how.
Figaro arrives and offers to shave Bartolo. While the doctor sits with soap on his face, the count negotiates with his beloved about escaping. Basilio appears unexpectedly, but Figaro, Almaviva and Rosina begin to convince him that he has a fever. The Count manages to hand the real teacher a wallet - and he goes home to “get treatment.” Bartolo begins to realize that he is being fooled and kicks everyone out except Rosina and the maid.
The orchestra performs a fragment from Rossini’s “Touchstone”. Next, the opera “The Barber of Seville” continues on the second floor of Bartolo’s house. The window opens and the Count and Figaro enter the room. Almaviva reveals his real name to Rosina, since the girl previously considered him to be the singer Lindor. Together with Figaro, he convinces her to escape. But at the last minute it is discovered that the staircase through which the young people got into the house has disappeared. As it turns out later, she was taken away by Bartolo, who went to fetch the notary.
Then the notary and Basilio arrive, summoned by Bartolo in order to register the marriage between him and Rosina. Almaviva bribes both of them and persuades them to enter into a marriage between him and the girl before Bartolo returns. The notary certifies the marriage contract, and then the doctor appears, accompanied by a guard. Bartolo is informed that nothing can be changed, and he has to come to terms with his fate, especially since Almaviva refuses his wife’s dowry. Everyone performs the final aria of reconciliation together.
The first production of “The Barber of Seville” in Russia
Throughout the 19th century, opera in Russia enjoyed extreme popularity. Moreover, specialized theaters existed not only in the capitals, but also in the provinces. For example, the first production of “The Barber of Seville” in our country was carried out in 1821 in Odessa. The performance was performed in Italian and was a great success. A year later, “The Barber of Seville,” a summary of which is known to all lovers of opera, was staged in St. Petersburg. From that time on, it was constantly present in the repertoire of the Italian opera troupe of the Northern capital, and for several seasons the famous Pauline Viardot performed Rosina’s aria in it.
"The Barber of Seville" at the Mariinsky Theater
In 1783, Catherine the Second ordered the founding in St. Petersburg Grand Theatre, which was later renamed in honor of In October 1882, “The Barber of Seville” was staged there. Mariinskii Opera House involved his own people in this performance best actors. Thus, the part of Bartolo was performed by F. I. Stravinsky (Stravinsky’s father), Almaviva by P. A. Lodiy, Rosina by M. A. Slavina, and Figaro by Pryanishnikov. “The Barber of Seville” was staged by the Mariinsky Theater for the second time in March 1918, with the participation of Rostovsky, Volevach, Karakash, Serebryakov, Losev, Denisov and Stepanov. In addition, there were two more productions - in 1940 and 1958. And in October 2014, the premiere of “The Barber of Seville” took place with the participation of I. Selivanov, E. Umerov, O. Pudova, V. Korotich, F. Kuznetsov and E. Sommer.
Famous performers of Rosina's aria
It just so happens that among amateurs classical music Women's arias are more popular. In particular, one of the most frequently performed is the song sung by Rosina (“The Barber of Seville”, Rossini) at the beginning of Scene II of Act I). One of the best performers is considered to be the one who managed to perfectly convey all the comedy of the situation. After all, the content of the aria is as follows: Rosina is not averse to getting married and promises to be a submissive wife, but only if her husband does not contradict her. If he doesn’t want to indulge her whims, then she promises to become a real vixen and turn his life into hell.
Concerning Russian performers this aria from the opera “The Barber of Seville”, then among them we can note A.V. Nezhdanova, V.V. Barsova, V. Firsova. In addition, this work brought wide fame to one of the brightest opera divas modernity - By the way, Rosina’s aria was also performed by an actress with undoubted singing talent Ekaterina Savinova in the film “Come Tomorrow”. This picture was a great success, and the main character was remembered by everyone.
Aria Figaro
Rossini's opera “The Barber of Seville” (a summary is presented above) is also known for its interesting roles for male voices. For example, one of the most popular is Figaro's aria. It was written for a baritone, and in it the cheerful barber boasts of his indispensability to the townspeople and lavishes praise on himself, shouting “Bravo, Figaro! Bravo, bravissimo!” Many connoisseurs of classical music even believe that it was this aria that contributed to the fact that every year dozens of opera houses around the world stage the play “The Barber of Seville.” Figaro has been portrayed on stage by many famous artists. Among them, one cannot help but mention Muslim Magomayev, and among foreign performers, the great Italian baritone Titta Ruffo.
Other parties
Another interesting role decorating the opera “The Barber of Seville”, reviews of which performed by Fyodor Chaliapin remained extremely admiring, belongs to Basilio. It was also performed by the following famous basses, like Ruggero Raimondi, Laszlo Polgar, Ferruccio Furlanetto and Paolo Montarsolo.
“The Barber of Seville” is one of the most cheerful and positive operas, which even people far from classical music enjoy listening to.
With a libretto (in Italian) by Cesare Sterbini, based on the comedy of the same name by Pierre Auguste Caron de Beaumarchais.
Characters:
BARTOLO, MD, Rosina's guardian (bass)
BERTHA, his housekeeper (mezzo-soprano)
ROZINA, his pupil (mezzo-soprano)
BASILIO, her music teacher (bass)
FIGARO, barber (baritone)
COUNT ALMAVIVA (tenor)
FIORELLO, his servant (bass)
NOTARY, SOLDIER, MUSICIANS
Time of action: XVII century.
Location: Seville.
First performance: Rome, Teatro Argentina, February 20, 1816.
“The Barber of Seville” is not the original title of this opera, although it is based on the play of the same name by Beaumarchais. At first it was called: “Almaviva, ossia L"inutile precauzione” (“Almaviva, or Vain Precaution”). The reason for Rossini to rename the opera was that “The Barber of Seville,” set to music by Giovanni Paisiello, was popular in opera stage thirty years before Rossini's opera - and Rossini did not at all want to cause grief to the respected and hot-tempered author of more than a hundred operas, who was then seventy-five years old.
Despite the precautions taken, Paisiello's adherents (they even say that they were instigated by the old man himself) made such noise and forced coughing at the premiere of Rossini's work that it was a complete failure. Rossini, who was conducting the play himself, secretly left the theater, but when the prima donna who was performing later came to console him, she found him sleeping serenely in bed.
The second and subsequent performances of the opera, which took place the same week, were much more successful, but the initial failure was the reason for the slow start to the popularity - long and wide - of this work. As for Paisiello, he died three and a half months later and did not know that Rossini’s creation had completely eclipsed his own. In truth, when Paisiello's opera is staged from time to time by some opera house today, one is amazed at some of the external similarities between these works, but it is equally obvious that the strength (power), liveliness, musical humor, which were the reason for many thousands of performances of Rossini's opera, only are inherent in Paisiello's score to a very small extent. Rossini enjoyed the love not only of millions, but also the genuine respect and admiration of such completely different composers as Beethoven, Wagner and Brahms.
OVERTURE
The overture that we always hear when an opera is performed today is not the original one, that is, the one that was in it from the very beginning. That overture was a kind of medley of popular Spanish melodies. Her score somehow strangely disappeared shortly after the first performance of the opera. Then Rossini, known for his laziness, pulled out of his chest some old overture, which he had written seven years earlier for the now forgotten opera "L" Equivoco stravagante" ("A Strange Case"). It had already served him well when he had to shorten the overtures to two other operas - "Aurelian and Palmyra" and "Elizabeth, Queen of England". But if its lively, light melodies hardly seem suitable for the tragedy about the Queen of England, then they fit so organically to "The Barber of Seville". that some music critics thought they heard in the music of this overture musical portraits of Rosina, Figaro and God knows who else.
ACT I
Scene 1. On one of the streets of Seville, musicians gathered to accompany the young Count Almaviva, singing a serenade to his beloved, Rosina. This is a charming flowery cavatina that he performs (“Ecco ridente in cielo” - “Soon the east will shine brightly with golden dawn”). But all efforts are fruitless. The musicians fail to call Rosina - she is strictly looked after by the old Dr. Bartolo. The irritated count and his servant Fiorello drive the musicians away. And now we hear a joyful baritone voice behind the stage singing “la-la-la-la.” This is Figaro, the barber, humming for his own joy and telling us how necessary he is to everyone in the city. This boast is, of course, the wonderful cavatina "Largo al factotum" ("Place! Spread wider, people!"). It quickly becomes clear that Figaro has known the Count for a long time. (There aren't many people in town that Figaro doesn't know). The Count - with some money in his hands - enlists Figaro to help him arrange his marriage to Rosina, and they begin to develop a plan of action. But their discussion is interrupted by someone coming out at home dr. Bartolo, he mutters that he himself intends to marry Rosina today. The Count and Figaro hear this.
Now both conspirators decide to act quickly. Taking advantage of Bartolo's absence, Almaviva starts the serenade again and this time introduces himself as Lindoro. Rosina answers him favorably from the balcony and suddenly quickly leaves, hearing someone’s steps in her apartment.
The inventive Figaro immediately figures out what to do: Almaviva will dress up as a soldier and, as if drunk, enter the house, saying that his regiment is stationed in the city and he will live here. The count likes this idea, and the scene ends with a cheerful duet in which the loving count expresses his joy at the prospect of success of the whole undertaking, and the barber rejoices at the success of the project, which is already generating income.
Scene 2. Now events are unfolding quickly and violently. They take place at Dr. Bartolo's house. Perhaps the best way to understand their progress is to concentrate Special attention on large arias and concert numbers. In this case, the first will be the famous coloratura aria “Una voce poco fa” (“In the silence of midnight”). In it, Rosina for the first time confesses her love for the unknown serenader Lindoro, then vows to belong to him forever, despite her guardian who is disgusted with her, with whom she will be able to cope. She continues to talk about what a wonderful submissive wife she will be if she is not contradicted. Otherwise, she intends to become a true devil, a vixen. (Usually in modern productions this part is sung by a coloratura soprano. However, Rossini wrote it differently. He intended it for a coloratura mezzo-soprano, which is quite rare in the 20th century). After her aria, she briefly but cordially talks with Figaro, the barber, and less cordially with Dr. Bartolo.
The next big aria is known as "La calunnia" ("Slander") - a praise of slander or malicious gossip. Don Basilio, a music teacher, informs his old friend, Dr. Bartolo, that Count Almaviva has arrived in the city and that he is secret lover Rosins. How did he become so discredited? Because of a rumor spread by someone, says Basilio. And here is the reason for the aria, which truly describes with “graphic” visibility how the devil’s rumors turn into a real storm of general indignation and condemnation. This is followed by a long and rather shy dialogue between Figaro and Rosina, in which the barber tells the girl that a poor young man named Lindoro is in love with her and that it would be nice of her to write him a letter. Rosina has actually already written a letter, and she hands it to Figaro so that he can give it to this young man. Then another dialogue takes place - a short one - in which Rosina tries to misdirect her old guardian by telling him all sorts of nonsense and lies. He sees and understands all this.
Driven to fury by these attacks on his dignity, Dr. Bartolo sings the third major aria in this scene (“A un dottor della mia sorte” - “It’s not for nothing that I am a keen-sighted doctor”). It is impossible to treat a professional like him, the doctor says, and he orders Rosina to be locked up in her room.
Soon after this, Count Almaviva enters, according to plan, that is, disguised as a cavalry soldier and posing as a drunk; he states that he is quartered in the doctor's house. No protests from the doctor help: the clearly drunk soldier does not accept any evidence of freedom from staying at the doctor’s house and threatens him with a sword, yells and curses - but with all this he manages sub rosa (lat. - in confidence) to let Rosina know that he is Lindoro . Everything turns into terrible turmoil, as one after another the maid Berta, the barber Figaro and the music teacher Basilio join in. Attracted by the noise, a patrol bursts into the house. The imaginary soldier (Count Almaviva) is almost arrested, but he manages to reveal his true rank to the officer, and the first act ends with a brilliant nine-voice chorus in which each participant admits that the whole situation is completely insane.
ACT II
As the second act begins, the general confusion intensifies even further. Count Almaviva appears at Dr. Bartolo's house in a new guise - a music teacher: in a black robe and a seventeenth-century professor's hat. He says that he has come to replace Don Basilio, who has fallen ill, and he insists on giving Rosina a music lesson. During the lesson (in many modern opera houses) the leading soprano often inserts something of her own choice instead of an aria - the most elaborate and decorated with rich coloratura. But Rossini wrote for this episode the song "L"Inutile precauzione" ("Vain Precaution"), which was the original subtitle of the opera. Dr. Bartolo does not like this " contemporary music", as he calls her. Whether it's Arietta... And in a nasal voice sings an old-fashioned sentimental romance.
A second later, Figaro appears with a shaving basin; he insists on shaving the doctor. And while the doctor’s face is covered in soap foam, the lovers are making preparations for their escape that very evening. But all these things are too unclear to satisfy the authors of the opera, and then Don Basilio comes. Of course, he is not sick at all, but in the charming quintet everyone convinces him that he has a fever, and he, having quietly received a weighty wallet from the count, is an argument! - goes home for “treatment.” All these unusual actions arouse Dr. Bartolo's suspicions, and at the end of another wonderful concert number he drives everyone out of the house. Then, in contrast, comes the witty little song of Bertha, the maid, talking about the stupidity of all those old people who intend to get married in their old age.
At this moment, the orchestra describes the storm with sounds, which indicates the weather outside the window, as well as the fact that some time has passed. (The music for this episode was borrowed by Rossini from his own opera "La pietra del paragone" - "The Touchstone"). Outside, the window opens, and through it, first Figaro enters the room, followed by the Count, wrapped in a cloak. They are ready to escape. But first, however, they must convince Rosina that their intentions are noble, since she still does not know that her Lindoro and Count Almaviva are one and the same person. Soon they are all ready - and the terzetto of the escape is singing "Zitti, zitti" ("Hush, hush"), when suddenly it turns out that there are no stairs! It later turns out that Dr. Bartolo removed it when he went to arrange all the affairs of his wedding with Rosina.
And so, when Basilio and the notary, whom Bartolo had sent for, arrived, the Count bribed them to register his marriage with Rosina. He offers Basilio a ring; otherwise, two bullets from your pistol. The hasty ceremony is barely over when Bartolo returns, accompanied by an officer and soldiers. And then everything becomes clear. The doctor even to a certain extent resigns himself to this outcome when the count gives him his assurances that he does not need Rosina’s dowry, and he can keep it for himself. The comedy ends - as a comedy should end - with universal reconciliation.
And if you want to know what subsequently happened to these characters, turn to Mozart’s “The Marriage of Figaro,” based on Beaumarche’s sequel to his “The Barber of Seville.”
Henry W. Simon (translated by A. Maikapara)
"Almaviva, or a Vain Precaution" - under this title the opera was staged at the Teatro Argentina in Rome to distinguish it from Paisiello's opera The Barber of Seville, which had gained popularity since 1782. On the first evening, Rossini's new work failed, but then everything changed, success began to follow success. Soon, “The Barber of Seville” was staged in New York during the theater season organized by Lorenzo Da Ponte, Mozart’s librettist, who understood Beaumarchais’s masterpieces.
Over Rossini's masterpiece, created in less than twenty days, as Sterbini supplied the verses, time still has no power, the opera radiates with health and such vital energy that it brilliantly stands up to any comparison, even with the great Wolfgang Amadeus (in 1824 Hegel wrote: “I listened to Rossini’s “The Barber” for the second time. I must say that I must have very spoiled taste, since this Figaro seems to me much more attractive than Mozart’s.”
The main credit goes, of course, to the main character. About forty bars of the orchestral introduction announce his appearance in the first act: finally he jumps onto the stage with the cavatina “Place! Open up wider, people! - “unprecedented in the history of opera, both in its rhythmic and timbre pressure (the orchestra plays a significant role here), and in the complexity of the structure, based on at least six different themes, the introduction and return of which do not obey any traditional patterns” (Fedele d "Amico). This barber is also a surgeon, botanist, pharmacist and veterinarian, as well as the most clever pimp in the city. He is the heir to the old, witty and rather cheeky characters of the 18th century, only he has an even more mocking mask, a real southern temperament, forcing you to talk incessantly in order to always remain right.
The story unfolding on stage is the result of keen observation, an insightful portrayal of society. Let's take a look at other characters, starting with Don Basilio, a music teacher, a bigot and a hypocrite, “an important and malicious opponent of marriages”: he boasts of the powerful power of slander, his aria is an example of an oratorio-vilification. Next to him is Doctor Bartolo, a capricious grumbler, an out-of-mind young old man. Between them is Rosina, a poor victim of morals and customs: however, not so poor, for her obedience is purely feminine, that is, combined with an innate ability to use her claws. Her liberator is the usual idol of girls, an impeccable knight who turns out to be a noble nobleman, one of those whose social position puts him above the fray and who nevertheless achieves what he wanted: this is Count Almaviva. The public still loves all these heroes, and its sympathies do not diminish in the least, since in this opera Rossini appears at his most the best side, developing an incomparable plot.
It is necessary to highly appreciate his ardent inspiration, which we have already spoken about in connection with “”: Rossini knows how to entertain with the music itself, without words. Suffice it to recall the overture, delightful and truly intoxicating. There is a Dionysian delight in it, not subject to reason, but healing, it is like the dance of a cheerful spirit freed from timidity. Rossini uses the orchestra to enhance the vocal comedy. The instruments themselves turn out to be characters, just like the singers on stage: they also conduct a dialogue, swagger, tease and persecute each other, scold and make up, and their excitement gradually increases. They even give themselves characteristics, sometimes soloing, sometimes mixing and alternating timbres, almost similar human faces and receiving social overtones. The instruments of the orchestra are sometimes grotesque, sometimes sincerely agitated, sometimes insidious and cynical, sometimes paradoxical, sometimes tender and inviting.
And just think that the overture, if we continue to talk about it, was not written specifically for “The Barber,” but was taken from the 1813 opera seria “Aurellano in Palmyra,” which was not a success and from where Rossini transferred some parts not only to “ The Barber", but also to the opera "Elizabeth, Queen of England". “After the long-lasting calls, from the end of the 19th century until recently, by late Romantic and idealist criticism to condemn the transfer of pages from one opera to another ... first of all, it should be dispelled doubts that Aurellano was not a success in 1813 because the author wrote essentially comic music for the opera seria. The music, continues Rodolfo Celletti, has a mysterious power. The melody is conceived for a specific situation and. a certain character, may, in other words, acquire an explosive power that it did not originally have.” And the orchestra performs a miracle in the opera (as Gino Roncaglia rightly notes), in which we see “not more or less colorful figures, but living beings outlined with powerful strokes, with the brightest colors, clearly defined and full of such brilliant and inexhaustible fun, as if they were possessed by a thousand imps. To give the characters even greater plastic completeness, the orchestra’s drawing, its living patterns, and amazing comedy are combined with a very successful vocal pattern... In this new vocal-symphonic organism, the vocal part is imbued with the orchestral part, and both parts form an indivisible unity.”
Great satisfaction from critics, including those who generally do not approve of the close XVIII century Rossini’s language, is also caused by the fact that in the vocal parts the composer overcame his inclination towards virtuosity or put it at his service psychological analysis. Rosina's trills convey determination to assert her will (and without any special sentimental indulgences, causing Figaro's jokes and Bartolo's impatience). Almaviva is not so much passionate as a gallant red tape, and in his conversations with Rosina you never feel deep love, although he is sincere. Don Bartolo, hot-tempered and capricious, stands between them, his vocal line is angry and full of frustration, he is a childishly touchy old man. The quartet is complemented by the vocal part of Don Basilio, imaginary, in which it is necessary to note the amazing power of declamation.
G. Marchesi (translated by E. Greceanii)
History of creation
Rossini wrote “The Barber of Seville” in an amazingly short time - in twenty days (according to other sources, the opera was written in about two weeks). At the premiere on February 20, 1816, the opera was unexpectedly booed. But subsequent performances were accompanied by resounding success.
“The Barber of Seville” was created based on the plot of the comedy of the same name (1773) - the first part of the famous trilogy of the greatest French playwright P. Beaumarchais (1732-1799). Appearing shortly before the French bourgeois revolution, it was directed against the feudal-absolutist regime and denounced the aristocracy. The image of the main character of the comedy - the dexterous and intelligent Figaro - embodies the characteristic features of a representative of the third estate: vital energy, optimism, enterprise. Figaro appears in the comedy as an exponent of the views of the advanced strata of society of that time. Not all of his monologues and witty remarks were included in the libretto by C. Sterbini (1784-1831). But thanks to the temperamental music sparkling with humor, the image of Figaro retained the main features of its literary prototype. The images of Bartolo - a stingy, grumpy old man and Basilio - an intriguer, a jester and a bribe-taker - have changed little. The characterization of the crafty, decisive and courageous Rosina turned out to be somewhat softened in the opera. Count Almaviva also appeared differently to Rossini. From a self-confident rake he turned into a traditional lyrical hero.
The cheerfulness and sparkling fun of “The Barber of Seville” have retained the ardent love of the broad masses of listeners for Rossini’s opera.
Music
“The Barber of Seville” captivates with its inexhaustible wit, melodic generosity and virtuoso brilliance of vocal parts. This work has the characteristic features of Italian opera buffa: rapid dynamics of stage action, an abundance of comic situations. The opera's characters and its plot, replete with unexpected twists, seem snatched from life itself.
The overture introduces an atmosphere of amusing adventures. Graceful melodies, temperamental rhythms, rapid build-ups are full of fire, boiling vitality.
The beginning of the first act is filled with the breath of the southern night. The feelings of the loving count are poured out in the cavatina “Soon the East will shine brightly with gold at the dawn,” richly decorated with coloraturas. Figaro’s famous cavatina “Place!” sounds in striking contrast. Open up wider, people!”, set to the rhythm of a tarantella. Almaviva’s melodious, slightly sad canzone “If you want to know” is imbued with tender passion.
The second act opens with the virtuoso cavatina of the flirtatious and capricious Rosina, “In the Silence of Midnight.” Basilio's popular aria about slander, at first insinuating, in the end supported by a gradual increase in the sonority of the orchestra, acquires a comically menacing character. The duet expressively conveys the slyness and feigned naivety of Rosina, the persistence and humor of Figaro. The finale of the act is a developed ensemble, full of action and contrasts, rich in bright, catchy melodies.
The third act consists of two scenes. The first begins with a comic duet between Bartolo and Almaviva, in which the Count’s feigned pious and humble speeches are answered by the guardian’s perplexed, irritable remarks. In the next scene (quintet), alarming exclamations and hasty patter are replaced by a gallant melody, which emphasizes the feigned courtesy of Figaro, Almaviva and Rosina, who are trying to see Basilio out.
In the orchestral introduction of the second scene, the dull rumble of cellos and double basses, the rapid rise of violins, and sparkling passages of flutes depict a night storm. The delights of the lovers, their ardent feelings were embodied in an elegant terzetto, the music of which was given a languid, gentle tone; only the mocking remarks of Figaro, imitating Almaviva and Rosina, introduce a touch of comedy into Terzetto. The opera ends with a buoyant final ensemble and choir.
M. Druskin
The premiere of Rossini's best opera failed miserably, as often happens with masterpieces. This was largely facilitated by the supporters of Paisiello, whose essay on the same subject was then successful. Further fate The opera was triumphant; it was destined to become one of the best comic operas in the history of this genre.
The composer created it in 13 days, partially using fragments from earlier compositions. Thus, the overture contains themes from the operas “Aurelian in Palmyra” and “Elizabeth, Queen of England”.
The Russian premiere took place in 1822 (St. Petersburg). Nowadays it is often staged in a three-act version. The part of Rosina was written for a coloratura mezzo, which presents technical difficulties, so there is a tradition of assigning it to a soprano as well.
Among the best performers of this part in the 20th century. Supervia, Horn, Bartoli. Chaliapin played the role of Basilio brilliantly. It is impossible not to mention such modern singers as Nucci (Figaro), Alva (Almaviva), Dara (Bartolo), Rami (Basilio), etc.
Among the most striking episodes are Figaro’s cavatina “Largo al factotum” (1 d.), Rosina’s cavatina “Una voce poso fa” (1 d.), Basilio’s aria “La calunnia” (“Slander”, I d.), a quintet of 2 d. (Rosina, Almaviva, Figaro, Bartolo, Basilio). In the finale of episode 2, the composer used the melody of the Russian song “Oh, why fence a garden” (from his cantata “Aurora”).
One of the best recordings in 1982 was made by Marriner (see discography). Stanislavsky staged a brilliant performance in 1933. He still performs successfully on the stage of the Moscow musical theater them. Stanislavsky and Nemirovich-Danchenko.
