IL BARBIERE DI SIVIGLIA

 

IL BARBIERE DI SIVIGLIA

In application of the current regulations regarding seating capacity, Teatro Cervantes will refund the tickets to the operas Il barbiere di Siviglia and La casa de Bernarda Alba. The sale of new tickets began on the 13th of April.

Opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini based on the French comedy
Le Barbier de Séville by Pierre-Agustin Caron de BeauMarchais.
Premiered at the Teatro Argentina in Roma on the 20th of February 1816.

Musical production Teatro Cervantes de Malaga
Stage production Opera de Las Palmas de Gran Canaria

Juan de Dios Mateos  Il conte d'Almaviva 
Fabio Capitanucci  Bartolo
Clara Mouriz   Rosina  
Javier Franco   Figaro  
Javier Castañeda   Don Basilio                     
Josep-Ramon Olive   Fiorello                            
Monica Campaña   Berta
Alberto Jaenal  An officer

Malaga Philharmonic Orchestra
Malaga Opera Choir

Stage director Giulio Ciabatti
Choir director Salvador Vazquez
Conductor Jose Maria Moreno

3.00 h (with technical stop)
photo ©Fabio Parenzan

 Hand programme (ESP) 

The complexity of Rossini’s masterpiece, opéra comique par excellence, goes far beyond its hilarity; its sophisticated mechanism is so well structured that it seems simple and natural. 
Written in a record thirteen days, as recognised by the author himself, with the original title of Almaviva, ossia l'Inutile precauzione (Almaviva or the useless precaution) to avoid the coincidence with the opera Il barbiere di Siviglia (Saint Petersburg, 1782) by Giovanni Paisiello, its premiere was a disaster. The second performance, however, was an absolute success. Although its predecessor prevailed for some time, only Rossini’s opera has withstood the test of time as part of the universal opera repertoire, and it is the most performed opera in history. Its magnificent numbers for ensembles, arias and orchestral effects constitute a true collection of paradigms full of ingenuity and creativity. The overture’s energetic, uplifting and funny character, which is often performed as a concert piece, prepares the audience psychologically for the atmosphere in which the opera unfolds. This vital and sophisticated music elevates to quintessence the astute, picaresque and iconic Figaro, the main character of BeauMarchais’ Andalusian trilogy, taken from the commedia dell´arte and effectively imbedded in the collective imagination.

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