I thoughly enjoyed it. Almaviva and Figaro climb up a ladder to the balcony and enter Rosina's room through a window. After two hundred years, it remains a popular work.                 (Duet: "Dunque io son...tu non m'inganni? It was as if Masseto, Zerlina's bumpkin betrothed from Don Giovanni, had gotten Figaro's job at Almaviva's Villa. They are Basilio and the notary. I can scarcely imagine I could find a better edition of the Barber of Seville than this evergreen. In particular, Paisiello and his followers were opposed to the use of basso buffo, which is common in comic opera. The scene returns to the location of Act 1 with a grille looking out onto the square. This shopping feature will continue to load items when the Enter key is pressed. [4], Other operas based on the first play were composed by Giovanni Paisiello (his Il barbiere di Siviglia premiered in 1782), by Nicolas Isouard in 1796, and then by Francesco Morlacchi in 1816. In the end, the characters emerged more vividly in San Francisco's Barbiere, with solid singing across the board and stylish conducting by Stefan Soltesz attaining all the liveliness and grace one could ask for. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. The music teacher (and cohort of Bartolo) Basilio is a basso buffo in Rossini, powerfully sung in San Francisco by Philip Ens, but a character tenor in Mozart, given shape by Ryland Davies. Maria Callas sang a cut-down version of Rossini's own "Contro un cor. [12] It was given in French at the Théâtre d'Orléans in New Orleans on 4 March 1823,[13] and became the first opera ever to be performed in Italian in New York, when Manuel Garcia (who played Almaviva) and his Italian troupe opened their first season there with Il barbiere on 29 November 1825 at the Park Theatre. Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this (duet: "All'idea di quel metallo"; "At the idea of that metal"). When the two have gone, Rosina and Figaro enter. In San Francisco, the American mezzo-soprano Helene Schneiderman gave a performance long on intelligence but shy in the surefooted fioratura and rich sound to bring Rosina fully to life. The Barber of Seville, or The Useless Precaution (Italian: Il barbiere di Siviglia, ossia L'inutile precauzione [il barˈbjɛːre di siˈviʎʎa osˈsiːa liˈnuːtile prekautˈtsjoːne]) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini.The libretto was based on Pierre Beaumarchais's French comedy Le Barbier de Séville (1775). I don't get to the opera much any more, living in Palm Springs. Bartolo overhears the lovers conspiring, and angrily drives everybody away. Audaciously, he pines the most for the Countess, even flirting with her shamelessly in one scene, but he also has eyes for Susanna and his counterpart in age, Barbarina. Lindoro, who is really the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself – not his money.     But the Rossini opera tells the story of how the count and countess meet and marry. The Countess in Nozze, for example, has pure musical lines of regal elegance, tinged with an emotional vulnerability that gives her unexpected depth. – Cosa veggo! The piece is a staple of the operatic repertoire[17] Because of a scarcity of true contraltos,[18] the role of Rosina has most frequently been sung by a coloratura mezzo-soprano (with or without pitch alterations, depending on the singer), and has in the past, and occasionally in more recent times, been sung by coloratura sopranos such as Marcella Sembrich, Maria Callas, Roberta Peters, Gianna D'Angelo, Victoria de los Ángeles, Beverly Sills, Lily Pons, Diana Damrau, Edita Gruberová, Kathleen Battle and Luciana Serra. Aurelia Dobrovolskaya (lyric coloratura soprano), 1914. If you 've never seen an opera you can't do better than The Barber of Seville! Add a young but already great Claudio Abbado and you get the greatest masterpiece representation of Rossini's opera ever. Rossini: Il Barbiere di Siviglia, Stefan Soltesz, conductor; San Francisco Opera, War Memorial Opera House, October 16, 2003 (HS). Please try again. "; "Don Basilio! Beethoven received Rossini in his Viennese apartment with the words «Ah, you are Rossini, the composer of the Barbiere di Siviglia». In San Francisco, tenor Yann Beuron gave Rossini's Almaviva the right bright, plangent sound, even if his coloratura got a mite smeary. Almaviva again appears at the doctor's house, this time disguised as Don Alonso, a priest and singing tutor who is substituting for the supposedly ailing Basilio. Nel 2016 inizia a collaborare con la compagnia FuoriOpera interpretando i ruoli di Marcello (Bohème, Puccini), Belcore (Elisir d’amore, Donizetti), Figaro (Le nozze di Figaro, Mozart) e Guglielmo (Così fan tutte, Mozart), Figaro (Il barbiere di Siviglia, Rossini). While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Luigi Alva, no other Count Almaviva for me. Nellie Melba followed suit, accompanying herself on the piano in the final song. The cast of eight had three other members of his family, including the 17-year-old Maria-Felicia, later known as Maria Malibran. A room in Bartolo's house with four doors, The scene begins with Rosina's cavatina, "Una voce poco fa" ("A voice a little while ago"). Superb production with the legendary Hermann Prey. Almaviva pays off the musicians who then depart, leaving him to brood alone. Using bribes and threats, Almaviva coerces the notary into marrying him to Rosina, with Basilio and Figaro as the legally required witnesses. San Francisco's Barbiere moved the action to the late 20th century. Almaviva reveals his identity and the two reconcile. Altre definizioni con mestiere: Il mestiere di san Marino; Il rischio è il suo mestiere; Un ferro del mestiere; Molto abili nel loro mestiere. ), Reviewed in the United States on July 31, 2009. (Aria: "A un dottor della mia sorte"; "To a doctor of my class"). If Swenson's voice is a rich Montrachet, Bayrakdarian's is a nice village Puligny. "; "My head seems to be in a fiery forge: the sound of the anvils deafens the ear."). Seen&Heard [6] The premiere was not a failure, but critics condemned the "audacity" of the young composer and the work is now forgotten.[6][7]. Two important characters in Nozze who are not in Barbiere are Susanna, whose pending nuptials with Figaro are referred to in the opera's title, and Cherubino, the teenage swain who is constantly tormenting the Count. We know she knows something about deceit herself, having just seen her younger self spring a few whoppers in the previous night's entertainment. – What do I see?"). [2], Rossini's opera recounts the events of the first of the three plays by French playwright Pierre Beaumarchais that revolve around the clever and enterprising character named Figaro, the barber of the title. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Editor: Marc Bridle  Isabel Bayrakdarian, who sang Rosina when Chicago did Barbiere in the 2001-2002 season, has the stage presence to bring Susanna to life, but she suffers vocally in a cast with Swenson. Also no matter what other reviewers have said, if your system is good enough, the dts-ma sound track soars over the older dts on dvd sound. The libretto was based on Pierre Beaumarchais's French comedy Le Barbier de Séville (1775). [8] Furthermore, many of the audience were supporters of one of Rossini's rivals, the veteran Giovanni Paisiello, who played on mob mentality to provoke the rest of the audience to dislike the opera. The Chicago Nozze had more star quality from the breathtaking beauty of the performances from Swenson and Mattei, which overcame uneven casting in the other roles. Davies made less of an impression in Chicago. Basilio suddenly appears for his scheduled music lesson, but he is bribed by a full purse from Almaviva and persuaded to leave again, with much discussion of how ill he looks. What you get out of this disc will depend on the equipment that you have at home, but I can't image that anyone that loves opera will not appreciate this recording. Sold by lola's dream and ships from Amazon Fulfillment. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. During an instrumental interlude, the music creates a thunder storm to indicate the passage of time. Rosina accuses Almaviva, whom she believes to be Lindoro, of betraying her. Two people are heard approaching the front door. Ravishing singing was at a premium in both productions, but fortunately a strength of both casts was clear, strong characterization. Rossini - Il Barbiere Di Siviglia (The Barber of Seville), Rossini - La Cenerentola / Frederica von Stade, Francisco Araiza, Paolo Montarsolo, Claudio Desderi, Laura Zannini, Claudio Abbado, Rossini - Il barbiere di Siviglia (The Barber of Seville) / Cambreling, Ewing, Rawnsley, Glyndebourne Festival Opera, Rossini - Der Barbier von Sevilla (Il Barbiere di Siviglia/The Barber of Seville), Puccini: Turandot at the Metropolitan Opera, Verdi - Rigoletto / Luciano Pavarotti, Ingvar Wixell, Edita Gruberova, Victoria Vergara, Ferruccio Furlanetto, Riccardo Chailly. Sung in Chicago by the soprano Ruth Ann Swenson, her voice like double cream, the arias were heartbreaking and the lines in the finale guaranteed to bring a tear. Bartolo demands that the Officer arrest the "drunken soldier". The aria is included as an appendix to the critical edition of the opera edited by Patricia Brauner. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. There was an error retrieving your Wish Lists. "; "Then I'm the one...you're not fooling me?"). See also. A capivating performance - riot of colour. Herman Prey, forever the "Factotum della città". In particular, the sheer comedy of the Sterbini text has never been more evident. A quirk of personal scheduling provided a rare opportunity to see, in two American cities, the two great operatic adaptations of the Beaumarchais plays involving the sly trickery of Figaro, Almaviva, Rosina and the gang. (This aria was originally written in the key of E major, but it is sometimes transposed a semitone up into F major for coloratura sopranos to perform, giving them the chance to sing extra, almost traditional, cadenzas, sometimes reaching high Ds or even Fs.). As spectacularly as Gioachino Rossini's »Il Barbiere di Siviglia« failed at its premiere in 1816, it was quick to materialise into a worldwide success for the ages, with many a musical number having meshed itself into popular culture even to the general public who has never stepped foot in an opera house. And when they go along with the plan, and all the complications that ensue, we can recognize flashes of that same intelligence. The La Scala production, with Alva, Prey and Berganza, was presented on the PBS Great Performance series in 1972. He is pretty much the same character, marvelously sung by Paul Plishka in San Francisco and Andrea Silvestrelli in Chicago, although we don't get much of an inkling in Mozart that the Barbiere plot hinged on his desire to marry Rosina, his ward. [3] The play as it is now known was premiered in 1775 by the Comédie-Française at the Théâtre des Tuileries in Paris. Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Bartolo, so as to gain entrance to the house. However, her fee was too high and in the end they settled on Geltrude Righetti. Our payment security system encrypts your information during transmission. On 11 November 1868, two days before Rossini's death, the composer Constantino Dall'Argine [es] (1842–1877) premiered an opera based on the same libretto as Rossini's work,[5] bearing a dedication to Rossini. Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Masterpiece edition of an operatic masterpiece, Reviewed in the United Kingdom on June 17, 2016. In fear of the drunken man, Berta the housekeeper rushes to Bartolo for protection. Figaro approaches singing (Aria: "Largo al factotum della città"; "Make way for the factotum of the city"). Mozart: Le Nozze di Figaro, Sir Andrew Davis, conductor; Lyric Opera of Chicago, Civic Opera House, Chicago, October 17, 2003 (HS). Bartolo orders Basilio to have the notary ready to marry him to Rosina that evening. Sung by the tall, handsome young American baritone Nathan Gunn, this Figaro had the right swagger if not quite the vocal presence and coloratura to give all the musical treats in Rossini's score their due. (I admit, it helps greatly if you understand Italian; the English translations do nothing to bring out the humor in his language. Knowing the Count only as Lindoro, Rosina writes to him. Con siviglia : __ __ eterni dei, canta Figaro nel Barbiere di Siviglia; Il barbiere di Siviglia; La regione di Granada e Siviglia; Il fiume di Siviglia e Cordova; Costruirono l'Alcázar di Siviglia. Mozart: Le Nozze di Figaro by Hermann Prey DVD $30.99. [9] The premiere of Rossini's opera at the Teatro Argentina in Rome[10] (20 February 1816) was a disaster: the audience hissed and jeered throughout, and several on-stage accidents occurred. While Almaviva pretends to give Rosina her singing lesson, Figaro arrives to shave Bartolo. The Barber of Seville, or The Useless Precaution (Italian: Il barbiere di Siviglia, ossia L'inutile precauzione [il barˈbjɛːre di siˈviʎʎa osˈsiːa liˈnuːtile prekautˈtsjoːne]) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. Famous contralto Rosinas include Ewa Podleś. Berganza and Alva combine to make this a benchmark production. Rossini’s Il barbiere di Siviglia is based on the same trilogy of plays by Pierre Beaumarchais as Mozart’s Le nozze di Figaro.The two operas share their hero – the silver-tongued barber Figaro – but Rossini’s Figaro is much cleverer and more calculating than Mozart’s, the puppet-master of the whole comedy. Indeed, the work sparkles with melody, it is witty and stunningly comedic. This blu ray's crisp video and extaordinary audio left nothing out. See, The voice types given here refer to the original cast as listed in a 2010 program book from, Originally written for contralto according to a. Listed as baritone by Gossett & Brauner 2001, p. 776. Teresa Berganza, unsurpassed Rosina. Il barbiere di Siviglia – The ultimate comedy for the opera house. S & H International Opera Review. Il barbiere di Siviglia (Rossini, Gioacchino) Movements/Sections Mov'ts/Sec's: 2 acts Composition Year 1816 Genre Categories: ... Biblioteca del Conservatorio di musica S. Pietro a Majella (I-Nc): 21.2.176 Purchase: Javascript is required for this feature.         Founder Ens rocked the house with his signature aria, "La callunia." It also analyzes reviews to verify trustworthiness. [11] The second performance, however, was successful. It was first performed in America on 3 May 1819 in English (probably the Covent Garden version) at the Park Theatre in New York. ... and a pleasure to see Herman Prey in this and his performance of Mozart's Figaro. After a long wait, it has happened. While Bartolo searches his cluttered desk for the official document which would prove his exemption, Almaviva whispers to Rosina that he is Lindoro in disguise, and passes a love-letter to her. In the hands of a great lyric soprano with stage presence, Susanna steals the show, from her "dong dong's" in her first duet with Figaro to the show-stopper aria of Act IV, "Deh vieni non tarder." The confusion intensifies and causes everyone to suffer headaches and auditory hallucinations ("Mi par d'esser con la testa in un'orrida fucina; dell'incudini sonore l'importuno strepitar. [16], The singing lesson in act 2 has often been turned into "a show-stopping cabaret. Mozart infuses his music with impulsiveness and urgency, especially in the Act I aria "Non si più" and the Act II serenade, "Voi che sapete." The Count, Rosina, and Figaro attempt to leave by way of the ladder, but discover it has been removed. Rosina believes the story and agrees to marry Bartolo. Several roles change voice types between Barbiere and Nozze, an indication of what kind of character the composers were trying to achieve. As she is leaving the room, Bartolo enters with the music teacher Basilio. [15] Pauline Viardot began the practice of inserting Alexander Alyabyev's "Nightingale". Bartolo shows Rosina the letter she wrote to "Lindoro," and persuades her that this is proof that Lindoro is merely a flunky of Almaviva and is toying with her at Almaviva's behest. Tigges has a strong, clear bass-baritone sound, but not yet the stage presence to portray Mozart's older, smarter if less independent Figaro. Ships from and sold by OxfordshireEngland. It is the finest of all the productions of this familiar opera I have ever seen. Also listed as bass by Richard Osborne 1992, p. 311; Charles Osborne 1994, p. 52; and Kobbé 1997, p. 667. Almaviva pretends to be too drunk and belligerent to understand, and dares Bartolo to brawl. Count Almaviva, disguised as a soldier and pretending to be drunk, enters the house and demands to be quartered there. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, "La calunnia è un venticello" – "Calumny is a little breeze" – is almost always sung a tone lower than the original D major). Il barbiere di Siviglia è un'opera buffa di Gioachino Rossini, in due atti, su libretto di Cesare Sterbini, tratto dalla commedia omonima francese di Pierre Beaumarchais del 1775.. L'opera fu commissionata a Rossini da Francesco Sforza Cesarini, impresario del teatro di patrocinio della sua famiglia, l'attuale Teatro Argentina, fatto erigere nel 1732 da suo nonno Giuseppe Sforza. Your recently viewed items and featured recommendations, Select the department you want to search in, + $12.70 Shipping & Import Fees Deposit to Czech Republic. Bartolo suspiciously demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Rosina is the young ward of the grumpy, elderly Bartolo and she is allowed very little freedom because Bartolo plans to marry her once she is of age and thus appropriate her not inconsiderable dowry. Figaro arrives on a shiny red Vespa, his barber kit in a wicker basket attached to the back, singing his entrance aria "Largo al factotum" while shaving the beard of his passenger, who emerges as a model-pretty young woman in a green cocktail dress. Mozart, of course, wrote Le Nozze di Figaro years before Rossini dashed off Il Barbiere di Siviglia. He has only one solo line, but it's a very significant one. Unable to add item to List. There's a problem loading this menu right now. Seen&Heard is part of MusicWeb Webmaster: Len Mullenger Len@musicweb-international.com. Please try again. Bartolo, a basso buffo in Rossini, is also a bass in Mozart, where he has acquired a female companion (Marcellina) and is revealed to be Figaro's father (and Marcellina his mother). Not wanting to leave Rosina alone with the singing teacher, Bartolo insists Figaro shave him right there in the music room. I know the make up may be a bit dated but the cast is wonderful and the set convincing. Lauren McNeese, an American mezzo who came up through the ranks at Chicago Lyric, was making her role debut in these performances. I told my friends if I waited long enough, technology would bring the opera to me in a form as satisfying as a live performance. [8] Paisiello had already composed The Barber of Seville and took Rossini's new version to be an affront to his version. Some years ago I did see a version of the Barber at the Coliseum in London but that performance did nothing to encourage me to see more of Rossini. Mozart deals with them and their household years later. There is, throughout this performance, a very Spanish variety of energy with background characters moving about with references to Spanish dance movements and postures which also feature strongly at the conclusion of the opera. Basilio leaves and Rosina arrives. Seeing the two operas on successive evenings, even in sharply different settings, added for me some extra layers of meaning. To gain Bartolo’s trust, Don Alonso tells him he has intercepted a note from Lindoro to Rosina, and says that Lindoro is a servant of Count Almaviva who has dishonorable intentions towards Rosina. Figaro asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. These items are shipped from and sold by different sellers. In Stock. Bartolo and the Count argue loudly. Reviewed in the United Kingdom on May 13, 2013. Il barbiere di Siviglia plot summary, character breakdowns, context and analysis, and performance video clips. Mozart's opera The Marriage of Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. (Swenson has also sung both Rosina and Susanna. The most notable change is the Count. Rossini's Almaviva, a youthful tenor, pretends to test Rosina's love by posing as a penniless student, but he's not shy about revealing his noble rank to get out of one fix after another. Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. According to music critic Richard Osborne, writing in The New Grove Dictionary of Opera, "it is important to record the degree to which singers have sometimes distorted Rossini's intentions. Her portrayal is a bit on the vanilla side, but she has a light, high voice for a mezzo and could grow into the role. Live productions are always better than films in my opinion but this is so well done you are happy to forget that it is not done on the stage. A stylish production and performance of considerable character, Reviewed in the United Kingdom on November 21, 2011. Basilio enters; then Figaro, who warns that the noise of the argument is rousing the whole neighborhood. Bartolo barges in, accompanied by the Officer and the men of the watch, but too late; the marriage is already complete. Famous recent mezzo-soprano Rosinas include Marilyn Horne, Teresa Berganza, Lucia Valentini Terrani, Susanne Marsee, Cecilia Bartoli, Joyce DiDonato, Jennifer Larmore, Elīna Garanča, Isabel Leonard and Vesselina Kasarova. The very elderly servant yawns aloud a few times, and speaks one or two words expressing his desire to sleep. The opera concludes with an anthem to love ("Amor e fede eterna, si vegga in noi regnar! Cherubino, hormones raging, pursues every female in sight, eligible or not. SIX STARS for Rossini, and, perhaps SEVEN stars for Pierre! When, in Nozze, Figaro tells her and Susanna of his plan to dress up Cherubino as a girl to fool the Count, the Countess turns to Susanna and asks if she thinks the plan will work. "[15] However, it has also been noted that Rossini, who frequently altered his music for specific singers, wrote a new aria for the second act for Joséphine Fodor-Mainvielle, a soprano who had sung Rosina in the 1818 London premiere, and sang the new aria c. 1820 at the Théâtre-Italien in Paris, where it was published. The most serious distortion has been the upward transposition of the role of Rosina, turning her from a lustrous alto into a pert soprano. "[15] Adelina Patti was known to include Luigi Arditi's "Il bacio", the Bolero from Verdi's I vespri siciliani, the Shadow Song from Meyerbeer's Dinorah, and Henry Bishop's "Home! [8] The original French play, Le Barbier de Séville, had a similar story: poorly received at first, only to become a favorite within a week. A two-story house, all in white, dominated the stage, rotating to let us see into the various rooms, which framed the characters' interactions in clever ways. Susanna really drives the plot, being the smartest character in a cast full of clever minds. Bartolo and Basilio are astonished and mystified; Figaro laughs quietly at them. Sweet Home!". ", Once after Patti had sung a particularly florid rendition of the opera's legitimate aria, 'Una voce poco fa', Rossini is reported to have asked her: "Very nice, my dear, and who wrote the piece you have just performed?"[15]. I first saw this production on T.V. Any further comparisons would be unfair to Bayrakdarian and Schneiderman.). His music is always stylish but always on the surface. Luigi Zamboni, for whom Rossini wrote the role of Figaro, had urged Rossini and Francesco Sforza-Cesarini, the cash-strapped impresario of the Teatro Argentina, to engage his sister-in-law, Elisabetta Gafforini, as Rosina. In Chicago, another young American baritone, Wayne Tigges, sung in place of Ildebrando d'Arcangelo, sidelined with bronchitis. Len Mullenger: Len@musicweb-international.com, S & H International Opera Review, Rossini: Il Barbiere di Siviglia, Stefan Soltesz, conductor; San Francisco Opera, War Memorial Opera House, October 16, 2003 (HS), Mozart: Le Nozze di Figaro, Sir Andrew Davis, conductor; Lyric Opera of Chicago, Civic Opera House, Chicago, October 17, 2003 (HS). The Officer starts to do so, but Almaviva quietly reveals his true identity to the Officer, and he (the Officer) backs off. Also listed as soprano by Gossett & Brauner 2001, p. 776; Charles Osborne 1994, p. 52; and Kobbé 1997, p. 667. Top subscription boxes – right to your door, Rossini - La Cenerentola / Frederica von Stade, Francisco Araiza, Paolo Montarsolo, Claudio Desderi…, © 1996-2020, Amazon.com, Inc. or its affiliates. Reviewed in the United Kingdom on February 2, 2014. Weinstock 1968, p. 54; Oborne, Charles 1994, p. 57. The two composers draw the same characters musically with distinctive strokes. Musicologists believe that, true to form, the music for Il barbiere di Siviglia was composed in just under three weeks,[8] although the famous overture was actually recycled from two earlier Rossini operas, Aureliano in Palmira and Elisabetta, regina d'Inghilterra and thus contains none of the thematic material in Il barbiere di Siviglia itself. Finally, the noise attracts the attention of the Officer of the Watch and his troops, who crowd into the room. The only criticism I have is that the sound engineers did not reverse the right and left channels during the overture when the camera is on the conductor. The première of Rossini's opera (under the title Almaviva, o sia L'inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome,[1] with designs by Angelo Toselli. Rossini gives his Rosina killer coloratura to demonstrate her cleverness and she never really slows down. Reviewed in the United States on September 30, 2005, I have been searching for this particular presentation of Il Barbiere for years. The befuddled Bartolo is pacified by being allowed to retain Rosina's dowry. This production of The Barber of Seville from 2005 was made at Madrid's Teatro Real which seems particularly appropriate for an opera set in Spain. The plot synopsis is partly based on Melitz 1921, [il barˈbjɛːre di siˈviʎʎa osˈsiːa liˈnuːtile prekautˈtsjoːne], "Sweet and Low: The case of the vanishing contralto, Italian libretto (1816 Rome: Crispino Puccinelli), International Music Score Library Project, Video of lecture "Ornamenting an Early Nineteenth-Century Opera", Ciro in Babilonia, ossia La caduta di Baldassare, L'occasione fa il ladro, ossia Il cambio della valigia, Il signor Bruschino, ossia Il figlio per azzardo, Il barbiere di Siviglia, ossia L'inutile precauzione, La gazzetta, ossia Il matrimonio per concorso, La Cenerentola, ossia La bontà in trionfo, Adelaide di Borgogna, ossia Ottone, re d'Italia, Bianca e Falliero, ossia Il consiglio dei tre, Matilde di Shabran, ossia Bellezza e Cuor di Ferro, Il viaggio a Reims, ossia L'albergo del Giglio d'Oro, Moïse et Pharaon, ou Le passage de la mer rouge, Conservatorio Statale di Musica "Gioachino Rossini", https://en.wikipedia.org/w/index.php?title=The_Barber_of_Seville&oldid=987389165, Operas based on The Barber of Seville (play), Articles with Italian-language sources (it), Short description is different from Wikidata, Articles containing Italian-language text, Articles with International Music Score Library Project links, Articles with German-language sources (de), Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 6 November 2020, at 18:34.