2025 OPERA SEASON
The Barber of Seville
(Almaviva, or the unnecessary precaution).
Gioachino Rossini
On debut a solemn fiasco, then an endless success. At least that’s what a blossoming of anecdotes about incidents and conspiracies that actually find no reliable historical evidence has led us to believe. A few skirmishes between rival impresarios, in Rome in 1816 around Rossini’s premieres, were there, but nothing too serious. The play was born so perfect that it was destined for triumph and such popularity that it ended up sometimes even scrambling it a bit. On the other hand, it is the wily Rossini first who misleads us: the plot is one of the oldest in the world (a greedy old man holds a young girl in his power, saved by the love of a peer and a shrewd helper), and we are invited to think that, with their deft self introductions, it is Figaro and Rosina who are the engines of the action. In reality it is the Count d’Almaviva who moves the ranks with gold and his position, but almost always in disguise. Image publicity, money and power: is it possible to imagine a more modern opera?
Dramma comico in two acts
Libretto by Cesare Sterbini
Music by Gioachino Rossini
On debut a solemn fiasco, then an endless success. At least that’s what a blossoming of anecdotes about incidents and conspiracies that actually find no reliable historical evidence has led us to believe. A few skirmishes between rival impresarios, in Rome in 1816 around Rossini’s premieres, were there, but nothing too serious. The play was born so perfect that it was destined for triumph and such popularity that it ended up sometimes even scrambling it a bit. On the other hand, it is the wily Rossini first who misleads us: the plot is one of the oldest in the world (a greedy old man holds a young girl in his power, saved by the love of a peer and a shrewd helper), and we are invited to think that, with their deft self introductions, it is Figaro and Rosina who are the engines of the action. In reality it is the Count d’Almaviva who moves the ranks with gold and his position, but almost always in disguise. Image publicity, money and power: is it possible to imagine a more modern opera?
Director
Directing
DIRECTOR
Renato Palumbo
DIRECTOR
Federico Grazzini
A production of the Teatro Comunale di Bologna
Main Characters and Performers
BERTA
FLOWER
THE COUNT OF ALMAVIVA
Dave Monaco/Pierluigi D’Aloia*
BARTOLO
Paolo Bordogna/Giovanni Romeo*
ROSINA
AyaWakizono/Chiara Tirotta*
FIGARO
Nicola Alaimo/Stefan Astakhov*.
BASILIO
Michele Pertusi/Andrea Pellegrini°
BERTA
YuliaTkachenko
FLOWER
Nicolo Ceriani
SCENE
Federica Parolini
COSTUMES
Silvia Aymonino
LUCI
Alessandro Verazzi
Author
Gioachino Rossini
(1792-1868) famous for his brilliant and lively operas, the most famous of which include “Il barbiere di Siviglia,” “La Cenerentola,” and “William Tell.” Known for his catchy melodies and brilliant orchestral style, Rossini profoundly influenced 19th-century comic and serious opera. His innovative use of form and rhythm, together with his talent for writing memorable arias and ensembles, left an indelible mark on the history of music.
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MUNICIPAL NOUVEAU
(Constitution Square, 4)
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