{"id":17874,"date":"2023-06-22T12:03:17","date_gmt":"2023-06-22T10:03:17","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/il-barbiere-di-siviglia\/"},"modified":"2025-04-05T08:45:05","modified_gmt":"2025-04-05T06:45:05","slug":"il-barbiere-di-siviglia","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/il-barbiere-di-siviglia\/","title":{"rendered":"Il barbiere di Siviglia"},"content":{"rendered":"\n
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Comic drama in two acts byGioachino Rossini<\/strong>with a libretto by Cesare Sterbini,from the play by Pierre Beaumarchais<\/p>\n\n

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Soloists from Accademia di alto perfezionamento e inserimento professionale of Opera Carlo Felice Genova directed by Francesco Meli<\/p>\n\n

Figaro<\/em>Carlo Sgura<\/strong>Gabriele Barria<\/strong> (15\/18\/20)<\/p>\n\n

Rosina<\/em>Greta Carlino<\/strong>Giulia Alletto<\/strong> (15\/18\/20)<\/p>\n\n

Il Conte d\u2019Almaviva<\/em>Paolo Nevi<\/strong>Manuel Caputo <\/strong>(15\/18\/20)<\/p>\n\n

Don Bartolo<\/em>Gianpiero Delle GrazieWillingerd Gimenez<\/strong> (15\/18\/20)<\/p>\n\n

Don Basilio<\/em>Davide Sabatino<\/strong>Antonino Arcilesi<\/strong> (15\/18\/20)<\/p>\n\n

Berta<\/em>Gabriella IngenitoMartina Saviano<\/strong> (15\/18\/20)<\/p>\n\n

Fiorello<\/em>Ernesto de Nittis<\/strong><\/p>\n\n

Un ufficiale<\/em>Angelo ParisiFranco Rios Castro<\/strong> (15\/18\/20)<\/p>\n\n

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Concertmasterand conductorGiancarlo Andretta<\/strong><\/p>\n\n

Direction and set designDamiano Michieletto<\/strong><\/p>\n\n

Direction shot byAndrea Bernard<\/strong><\/p>\n\n

CostumesCarla Teti<\/strong><\/p>\n\n

LightingLuciano Novelli<\/strong><\/p>\n\n

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Produced byFondazione Teatro del Maggio Musicale Fiorentino<\/strong><\/p>\n\n

Orchestra, choir and technicians of Opera Carlo Felice Genova<\/strong><\/p>\n\n

Claudio Marino Moretti<\/strong>, choirsmaster<\/p>\n\n

Master of recitatives Sirio Restani<\/strong><\/p>\n\n

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Stage DirectorLuciano Novelli<\/strong><\/p>\n\n

Musical director of the stageAndrea Solinas<\/strong><\/p>\n\n

Hall MastersSirio Restani<\/strong>, Antonella Poli<\/strong><\/p>\n\n

Stage MastersAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Master of lightingBernardo Pellegrini<\/strong><\/p>\n\n

Master of supertitlesSimone Giusto<\/strong><\/p>\n\n

Music archive managerSimone Brizio<\/strong><\/p>\n\n

Stage directorAlessandro Pastorino<\/strong><\/p>\n\n

Deputy stage managerSumireko Inui<\/strong><\/p>\n\n

Console Handling ManagerAndrea Musenich<\/strong><\/p>\n\n

Engineer foremanGianni Cois<\/strong><\/p>\n\n

Foreman electricians\/lighting boothMarco Gerli<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Head of audio\/video departmentWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Scenes, costumes and equipmentFondazione Teatro del Maggio Musicale Fiorentino<\/strong><\/p>\n\n

Supertitles byFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

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With the support of<\/em><\/p>\n\n

\"intesa<\/figure>\n\n
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Opera in brief<\/strong>by Ludovica Gelpi<\/em><\/p>\n\n

Il barbiere di Siviglia<\/em> is a comic drama in two acts that Gioachino Rossini composed on commission from Francesco Sforza Cesarini between late 1815 and early 1816, for the Teatro Argentina in Rome. The barely 23-year-old composer was already one of the most successful opera composers of the time, and was simultaneously handling numerous requests. In December 1815, when he signed his contract with the Teatro Argentina, Torvaldo e Dorliska<\/em> was being staged at the Teatro Valle in Rome, the following La gazzetta<\/em> would be performed only a few months after Il barbiere.<\/em> Sforza Cesarini’s commission envisaged a first performance of the new opera for the 1816 Carnival, so Rossini, together with librettist Cesare Sterbini, was able to complete the work in just two months and in time for the premi\u00e8re,<\/em> which took place on 20 February 1816. The choice of subject, Pierre Beaumarchais\u2019 1775 comedy of the same name, was rather daring, as Giovanni Paisiello\u2019s 1782 version of Barbiere<\/em> was well known to the public. As a sign of respect to the composer of the Neapolitan School, the first performance of Rossini\u2019s Barbiere<\/em> was held under the title Almaviva, or the Useless Precaution.<\/em>The opera was an immediate and huge success \u2013 except for the first performance, where many Paisiello supporters whistled Rossini \u2013 and it was, and still is, Rossini’s most loved and performed work.Il barbiere di Siviglia<\/em> is considered by many to be the opera buffa par excellence, representing almost all the narrative devices that characterise it. The plot unfolds amidst stratagems, disguises and deceptions, the lovers Conte d’Almaviva and Rosina are helped by their accomplice Figaro against the hostility of Don Bartolo and his trusted friend, Don Basilio. The characters retain their stereotypical traits, but each has a distinct and original characterisation. The Count alternates between moments as a ‘true comic tenor’, in which he declares his feelings with spontaneous naivety, and moments in which the mask seems to fall, with great candour the feignedly dreamy young man moves on to more or less subtle coercion and assertions of power. Rosina alternates between indecision and determination, indolence and brashness, but proves herself strong-willed enough to openly mock Don Bartolo. The latter is perhaps the most appropriately ‘funny’ character, gruff and jealous bass, perceptive in spotting deception even if unable to decipher it fully. Figaro, the most famous character, strides confidently forward trying to weave the plot, but it must be said that each of his stratagems fails miserably. Figaro\u2019s machinations determine the affirmation of the stylistic features of opera buffa, but Rossini and Sterbini suggest not too veiledly and with great cynicism that the only effective means of resolving the conflict are status and money. It is clear that if, at the beginning of Act I, Count d\u2019Almaviva had presented himself at Don Bartolo\u2019s door demanding Rosina\u2019s hand, no one would have been able to deny him, not the guardian and not even the girl. This is precisely what makes Rossini\u2019s dramaturgy unique: on the one hand, a magnificently accomplished exaltation of the genre buffo, and on the other, the ability to give it further depth by introducing a new level of interpretation.The musical plane is the scene of an incredible variety of expression. Precisely because of the exorbitant number of engagements, Rossini often reused previously composed material – sometimes already part of other compositions, sometimes unpublished. The very imminence of the multiple deadlines played a fundamental role in spurring Rossini’s creativity, who wrote years later: ‘Wait until the evening before the day fixed for the performance. Nothing excites inspiration more than necessity, the presence of a copyist waiting for your work and the throng of an impresario in distress, tearing his hair out in locks. In my time in Italy all impresarios were bald by the age of thirty’. Rossini\u2019s genius is thus revealed in his unparalleled ability to rework heterogeneous pieces into a new ‘whole’, within which variety and cohesion find equal space. The richness of styles emerges from the opening Symphony (originally composed for Aurelian in Palmyra,<\/em> in 1813), a brilliant fresco of nuances and contrasts from the slow introduction to the Allegro that follows. The same applies to the vocal lines of the soloists and the choral parts – between syllabication and declamation, intense melodicism, pure belcanto. The constant and total synergy between orchestral and vocal writing is the foundation of the work’s expressive immediacy, which maintains a sustained narrative rhythm from end to end, flowing and always new and surprising.<\/p>\n\n

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\"Screenshot<\/figure>\n\n

The performance on Thursday 20 June 2024 is dedicated to the 30th Music Festival<\/em><\/p>\n\n

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Giancarlo Andretta will conduct the Opera Carlo Felice Orchestra and Choir for Rossini’s comic drama<\/p>\n","protected":false},"featured_media":27349,"template":"","discipline":[202],"season":[257],"tag_spettacoli":[599,597,349,524,346,271,350,596,598,345,332,299,341,337,338,600,330,333,154,331,342],"class_list":["post-17874","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-andrea-bernard","tag_spettacoli-angelo-parisi","tag_spettacoli-antonino-arcilesi","tag_spettacoli-carla-teti","tag_spettacoli-carlo-sgura","tag_spettacoli-damiano-michieletto","tag_spettacoli-davide-sabatino","tag_spettacoli-ernesto-de-nittis","tag_spettacoli-franco-rios-castro","tag_spettacoli-gabriele-barria","tag_spettacoli-gabriella-ingenito","tag_spettacoli-giancarlo-andretta","tag_spettacoli-gianpiero-delle-grazie","tag_spettacoli-giulia-alletto","tag_spettacoli-greta-carlino","tag_spettacoli-luciano-novelli","tag_spettacoli-manuel-caputo","tag_spettacoli-martina-saviano","tag_spettacoli-opera-carlo-felice-genova","tag_spettacoli-paolo-nevi","tag_spettacoli-willingerd-gimenez"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/17874","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/17874\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/27349"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=17874"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=17874"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=17874"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=17874"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}