CHAN 3025COVER.qxd22/8/071:30pmPage1 CHAN 3025(2) Gabriele Bellini Gabriele

Rossini The Barber of Seville PETE
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Gioachino Rossini (1792–1868) The Barber of Seville

AKG An opera in two acts Critical edition by Alberto Zedda Libretto by Cesare Sterbini after the play Le Barbier de Séville by Beaumarchais English translation by Amanda and Anthony Holden

Count Almaviva ...... Bruce Ford tenor Bartolo, a doctor in Seville ...... Andrew Shore baritone Rosina, ward of Doctor Bartolo...... Della Jones mezzo-soprano Figaro, a barber ...... Alan Opie baritone Don Basilio, music teacher and hypocrite...... Peter Rose bass Fiorello, Count Almaviva’s servant ...... Peter Snipp baritone Berta, Bartolo’s housekeeper ...... Jennifer Rhys-Davies soprano An Officer ...... Christopher Ross bass

English National Opera Orchestra and Chorus Stephen Harris chorus master Gioachino Rossini, c. 1820 James Holmes assistant conductor Gabriele Bellini

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COMPACT DISC ONE Time Page COMPACT DISC ONE Time Page 13 ‘You need only mention money’ 7:59 068 1 Overture 7:04 060 Figaro, the Count 14 ‘In my heart a gentle voice’ 2:37 070 Act I (Beginning) Rosina 2 ‘Piano, pianissimo’ 3:22 060 15 ‘I can be so demure’ 3:57 070 Fiorello, Chorus, the Count Rosina 3 ‘See how the smile of heaven’ 4:18 060 16 ‘Oh yes, I’ll win the day’ 0:39 071 The Count Rosina 4 ‘Hey, Fiorello!’ 1:16 061 17 ‘Good morning, Signorina’ 0:45 071 The Count, Fiorello, Chorus Figaro, Rosina 5 ‘Thank you, thank you’ 1:47 061 18 ‘Where would I be without him?’ 1:07 072 Chorus, Fiorello, the Count Rosina, Bartolo 6 ‘What common people!’ 0:28 062 19 ‘Who’d know?’ 1:38 072 The Count, Fiorello Bartolo, Basilio 7 ‘La la la lera’ 4:39 062 20 ‘Innuendo, the slightest whisper’ 3:47 073 Figaro Basilio 8 ‘Ah ha! What could be better?’ 2:05 063 21 ‘Well, what d’you think?’ 0:27 074 Figaro, the Count Basilio, Bartolo 9 ‘I cannot see him anywhere’ 1:37 064 22 ‘So that’s it!’ 2:45 074 Rosina, the Count, Bartolo, Figaro Figaro, Rosina 10 ‘Poor little innocent creature!’ 2:40 065 23 ‘Then it’s me…’ 5:25 076 The Count, Figaro, Bartolo Rosina, Figaro 11 ‘My poor heart is so full of emotion’ 3:09 067 24 ‘Now I feel so much better’ 1:51 077 The Count, Rosina, Figaro Rosina, Bartolo 12 ‘What’s happened?’ 1:05 067 25 ‘Dare you offer such excuses’ 6:44 078 The Count, Figaro Bartolo TT 73:12 000

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COMPACT DISC TWO Time Page COMPACT DISC ONE Time Page 10 Act I (Conclusion) ‘I don’t think we have met, Sir’ 2:50 088 Bartolo, the Count 1 ‘Where’s the master?’ 3:09 079 11 The Count, Bartolo ‘Come along, my dear, and listen’ 1:05 090 Bartolo, Rosina, the Count 2 ‘Ah! How long ’til I behold her?’ 6:07 080 12 The Count, Bartolo, Rosina, Berta, Basilio ‘When a heart for love is yearning’ 7:26 090 Rosina, the Count 3 ‘Stop this noise!’ 1:14 084 13 Figaro, Bartolo, the Count, Rosina, Berta, Basilio ‘What a talent. Bravissima!’ 0:40 091 The Count, Rosina, Bartolo 4 ‘Someone is at the door’ 1:13 085 14 Rosina, Berta, Figaro, the Count, Bartolo, Basilio, Chorus ‘Sweet little seventeena’ 0:59 092 Bartolo 5 ‘Pay attention! What’s the trouble?’ 1:24 085 15 Chorus, Bartolo, Figaro, Basilio, Berta, the Count, Rosina, Officer ‘Bravo, Signor Figaro’ 3:07 092 Bartolo, Figaro, Rosina, the Count 6 ‘Frozen and motionless’ 3:26 086 16 Rosina, the Count, Bartolo, Basilio, Figaro ‘Don Basilio…’ 6:38 094 Rosina, the Count, Figaro, Bartolo, Basilio 7 ‘If I may…’ 4:54 086 17 Bartolo, Berta, Basilio, Chorus, Rosina, the Count, Figaro ‘Now then, Signor Don Bartolo’ 3:58 096 Figaro, Bartolo, the Count, Rosina 18 ‘Things can’t get much worse’ 0:41 098 Act II Bartolo 8 ‘I’ve got to find the answer!’ 0:54 087 19 ‘He wouldn’t trust his mother!’ 0:29 098 Bartolo Berta 9 ‘Peace and joy be yours for ever’ 2:25 087 20 ‘First the Doctor wants to marry’ 3:23 098 The Count, Bartolo Berta

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Gioachino Rossini: The Barber of Seville

COMPACT DISC ONE Time Page Rossini wrote forty operas – all of them before the hard-pressed Rossini and his librettist 21 ‘So this pupil Alonso’ 1:05 099 his thirty-eighth birthday, when he had Cesare Sterbini chose it in the freezing Rome Bartolo, Basilio another thirty-eight years to live – yet a time winter of 1816. Beaumarchais’s comedy of 22 ‘By force or persuasion’ 2:52 100 came when he was remembered as the 1775 still held the stage, as it does in France Bartolo, Rosina composer of just one: Il barbiere di Siviglia. today, helped by the triumph of its sequel Le 23 Thunderstorm 3:09 101 This was particularly true while Wagner Mariage de Figaro (the third play in the trilogy, 24 ‘We’ve made it’ 1:13 101 reigned supreme, between about 1880 and La Mère coupable (The Guilty Mother), is a Figaro, the Count, Rosina 1920. Rossini’s many serious operas had dreary, sententious melodrama: Beaumarchais 25 ‘Almaviva, not Lindoro!’ 7:08 102 vanished, but for an occasional Guillaume Tell had been overtaken by the French Revolution Rosina, Figaro, the Count or Mosè in Egitto, put on as a salute to an with its demand for earnestness). A neat 26 ‘Ah! That’s all we needed!’ 0:25 103 ancient monument. Even comic operas like comedy of intrigue, the original Barbiere was Figaro, the Count, Rosina L’italiana in Algeri and La Cenerentola, highly based on the conventions of comic opera – 27 ‘Don Bartolo’ 1:00 104 successful in their own day and again in ours, going back to the old Italian comedy of masks, Basilio, Figaro, the Count, Rosina were in eclipse. Il barbiere, though, marched with the hoariest of plots, the old guardian 28 ‘Don’t move a muscle!’ 0:19 105 on. Some of the best singers appeared in it, whose plan to marry his pretty ward is foiled Bartolo, Figaro, Officer, the Count year in year out, and some of the worst; in the by young love and clever servants; indeed 29 ‘I love a happy ending’ 2:27 105 1940s it was even transformed into a Beaumarchais had originally written it with Figaro, Berta, Bartolo, Basilio, Chorus, Rosina, the Count Broadway musical under the title Once Over ‘numbers’ to be set to music. TT 75:48 000 Lightly, with a Russian Figaro; that turned out What made the play special was the to be once too often. character of Figaro, the sort of uncommon What is it about the work that keeps it common man who was to play a large part in evergreen? Success now and then feeds on the revolution: jack-of-all-trades, living on his itself: of two plays or operas that are equally wits, irreverent to his social superiors (up to a effective in the theatre, one may appear more point while their superiority lasted), but always often than the other because it is better ready to score off them or exploit them. In the known. Il barbiere was already famous when opera, where words have to be far fewer than in

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the spoken play, his character is somewhat composers to write operas on the same subject the season opened over a fortnight late. audience, with the whole theatre’. So Bernard coarsened; his plebeian vigour comes through and even to the same libretto. Rossini and Rossini had not quite four weeks to work in Shaw wrote about Oscar Wilde. It could have in his famous entrance aria, and so does his Sterbini used a fresh title for their version (it between getting the first part of the libretto been written of Rossini. (‘Playing with straightforward interest in money. was originally called Almaviva – suitably, for (25 January) and playing continuo, as was the philosophy’ may seem beyond his grasp – until With the play well established, the reigning the star was the tenor Manuel García) and custom, on the first night (20 February). For a we recall that Hegel and Schopenhauer, solemn Italian composer of the late eighteenth played down the famous sneezing and yawning composer this was nothing out of the philosophers both, thought highly of his century, Giovanni Paisiello, turned it into a scene; these too were normal precautionary ordinary; but the cast was probably tired out works.) From start to finish he plays with the comic opera. This Barbiere made its successful measures. They also printed a note stating that by the initial rush to get the season off the conventions of opera – as he had already done way round Europe after its first performance they meant no discourtesy to the old composer ground (with L’italiana in Algeri), and then by in Il turco in Italia, where one of the characters in St Petersburg in 1782. Rare festival (who was to die just over three months later). having to learn and rehearse Il barbiere while is writing the work as it goes along. In the performances today show it to be a delightful, What seems to have happened is that younger giving five performances a week. A stumbling opening scene of Il barbiere the serenading melodious work, with a funny scene for rival composers were jealous, and fans of a rival first night gave way to success on later nights; musicians’ thanks mock the habit operatic Bartolo’s sneezing and yawning servants, but theatre objected to the Teatro Argentina’s after that the opera never looked back. choruses have of making loud and repetitive rather mild and slow for modern taste. By the trespassing into comic opera. The main reason As well as the best of pure comic operas in noises when they need to go off on tiptoe, and time Rossini got to work in 1816 Paisiello was for catcalls on the first night, however, was that the Italian tradition, it was almost the last. so, at the end of the opera, does the trio in out of date, in part because music did go out the usual rush of an Italian opera season was, Rossini’s own Cenerentola of the following which Figaro and the lovers keep announcing of date within thirty years or so (a repertory of this time, a little too rushed. year, and the best remembered of Donizetti’s that very same need until the escape ladder works played again and again was only just The Argentina, the leading Rome theatre, at comic works (L’elisir d’amore and Don eludes them. Here are the ancestors of the beginning to form), but especially because the this season would normally have given serious Pasquale), have a touch of sentiment or realism policemen’s chorus in The Pirates of Penzance, years of the revolutionary and Napoleonic opera. Its reason for asking Rossini to write Il that speaks for a more cushioned epoch. ‘With catlike tread’. The characters use theatre wars had brought forward a new audience: barbiere rather than some classical drama was Comic opera was in any case going out of to mock their own theatrical selves. more middle-class, more impatient, more money: with the fall of Napoleon and the vogue: it didn’t suit the timorous, starchy In the earlier part of that final trio, Figaro eager for strong sensations, especially those return of the Pope the theatre had lost its monarchical regimes brought back after the takes off Almaviva’s mooning melismas as the called up by military music. Rossini provided subsidy, Europe-wide economic crisis had fall of Napoleon, or the newly respectable tenor celebrates his and Rosina’s love instead just what it wanted: fizz, zing, speed. thinned its audience, and comic opera was middle classes. But Il barbiere distils the old of making good their escape. This is only the The story that the first night of his Barbiere relatively cheap. Even then the owner- comic-opera temper, a union of the last of several musical parodies. Bartolo’s little went wrong because part of the audience was impresario could get a company together only nonsensical and the ruthless. song in the lesson scene takes off the music he outraged on Paisiello’s behalf is almost certainly through frantic efforts (‘it’s enough to make a ‘He plays with everything: with wit, with would have heard in his youth (pre-Paisiello), a canard. It was common form for several poor wretch like me spit blood’, he wrote) and philosophy, with drama, with actors and and his big aria with its elaborate repetitions

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uses musical pedantry to make fun of the dry mezzo Cinderella to bring down the curtain brings what was called at the time the barber, who prides himself on his ability to old lawyer. The supposed abbé’s endless tidings on that work). Elsewhere coloratura serves to Rossinian ‘organised and total madness’. There manage the affairs of the town. In spite of the of peace and joy at the start of the lesson scene etch Rosina’s personality in sharp outline. Her and elswhere Rossini lets music take over and watchfulness of her guardian, Rosina contrives mock the setting of those words in many a famous first aria tells of her assertiveness, her takes little notice of the words. Yet words do to drop a letter from the balcony asking his piece of church music. Figaro’s opening praise control of the situation and her capacity for tell, as when everyone tells Basilio he looks name and returning his affections. The Count of gold, launching his and Almaviva’s duet in ironic comment. This is no lovelorn romantic ‘yellow’, or Rosina blows the gaff on her then makes himself known to Rosina as a poor the opening scene, echoes the portentous line heroine: glittering and sardonic in her duet ‘docility’ with the one little word ‘but’. With student called Lindoro. Figaro suggests that in of serious opera. with Figaro, all charm and pleasure in the an all-Italian cast making the most of the order to gain admittance to the house he Parody cuts deepest where Rossini takes off latter part of the lesson scene (while Bartolo is original words (not often to be had in should instead pretend to be a soldier billeted his own favourite devices: the crescendo asleep), she is, as we can hear, a self-possessed recordings aimed at an international audience) on Dr Bartolo, and drunk. moving to a noisy outburst, and the elegant young thing. (In the nineteenth century such things can tell. So they can in a different coloratura cascade of notes. In his serious sopranos appropriated the part and turned the way when, as here, all the singers share a Inside the house operas both can seem arbitrary. In Il barbiere, lesson scene into a concert larded with language – even though the language is of a Dr Bartolo has heard rumours about the most striking use of the crescendo is for everything from ‘Home, Sweet Home’ to country where the temperature just before Almaviva’s interest in Rosina and decides to once wholly suited to what is being sung extravagant variations. The part belongs to a dawn rarely encourages serenades. marry her immediately. Rosina’s singing about: the gradual spread of calumny in mezzo such as Della Jones – the natural Italian teacher, an unscrupulous priest called Don Basilio’s celebrated aria. To accustomed ears – woman’s voice, Rossini called it – and the © 1995 John Rosselli Basilio, is Bartolo’s confidant. Almaviva, as those of the original audience were – the lesson scene works best just as it stands.) disguised as a drunken soldier, arrives to take crescendo, with sudden modulations The heart of the opera is in two supremely Synopsis up his ‘billet’ with the Doctor. Rosina is culminating in the ‘cannon-shot’, appears to crafted ensemble pieces – the long Act I Finale Count Almaviva, a Spanish nobleman, is in delighted when she recognises her admirer. be saying, ‘You see? I can after all be aptly and the quintet in which the other four love with Rosina, the ward of Dr Bartolo, an The Doctor’s annoyance at the behaviour of dramatic with the best’: a further subtle principals urge the flummoxed Don Basilio to old doctor who is planning to marry her the ‘soldier’ causes such a row that the militia guying of the opera form. go back to bed. Each is held together through himself. are called in by the neighbours. The Count As for coloratura Rossini uses it in the changing sections by a perky, recurrent little escapes arrest, much to Bartolo’s fury. tenor’s opening aria to bring out Almaviva as musical phrase and a steady, heady Act I urgent and graceful lover (the opera originally accompaniment. The sight and sound of The street outside Dr Bartolo’s house Act II ended, just before the final line-up, with an human beings behaving like machines is one The Count, helped by a group of musicians, In Bartolo’s house, later the same day elaborate display piece for García, but it held potent cause of laughter in the theatre. By the serenades Rosina. In order to gain an The Count assumes another disguise and up the action; the composer later gave it to his headlong last section of the Act I Finale it introduction he enlists the help of Figaro, the enters the house as Don Alonso, a music

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teacher. He says he has come to give Rosina a marriage of Rosina to the Count. Bartolo Bruce Ford has made numerous recordings Dodon (Le Coq d’or), Leandro (The Love for singing lesson in place of Don Basilio who has arrives too late and is obliged to acknowledge for Opera Rara, including Meyerbeer’s Il Three Oranges), Dikoy (Kát’a Kabanová), Dr suddenly fallen ill. Under cover of the lesson that he has lost her. crociato in Egitto, Mayr’s Medea in Corinto, Kolenaty (The Makropulos Affair), Shishkov the Count tells Rosina that he will elope with Donizetti’s Rosmonda d’Inghilterra, Rossini’s (From the House of the Dead), Frank (Die her at midnight. Figaro, who has arrived to Over the past decade Bruce Ford has Ricciardo e Zoraide, Pacini’s Maria, regina Fledermaus), Baron (La Vie parisienne), Baron shave Bartolo, manages to obtain the keys to established himself as an all-round bel canto d’Inghilterra, Donizetti’s Maria de Rudenz, Trombonok (Il viaggio a Reims), Varlaam (Boris the balcony. To their consternation Basilio tenor, specialising in the Mozart and Rossini Rossini’s Otello and two recital discs (Rossini – Godunov) and Faninal (Der Rosenkavalier). His appears, but when a purse of money is slipped roles. After he made his Pesaro Rossini Festival Three Tenors and Romantic Heroes). For recordings for Chandos/Peter Moores into his hand he maintains the pretence of debut in 1990, performing the role of Chandos/Peter Moores Foundation he has Foundation comprise The Elixir of Love, Don being ill. Bartolo, having become suspicious, Agorante in Ricciardo e Zoraide at less than recorded a solo recital of operatic arias. Pasquale, La bohème and highlights from Der catches the lovers in compromising two weeks’ notice, he has been a regular guest Rosenkavalier in addition to this Barber of conversation. in Pesaro (singing in Rossini’s Otello, Il Andrew Shore is acknowledged as Britain’s Seville and the award-winning Tosca. When the Count and Figaro have gone barbiere di Siviglia and Zelmira), as well as in premier buffo baritone and an outstanding Bartolo confronts Rosina with the letter she most of the leading opera houses and festivals singer/actor. He has worked for all the major Della Jones was born in Neath and studied at addressed to Lindoro and catches her by in Europe. His appearances at Teatro alla British companies, including English National the Royal College of Music where she won surprise when he tells here that Lindoro is the Scala, Milan have included the roles of Uberto Opera, The Royal Opera, Covent Garden, many prizes, including the Kathleen Ferrier agent of Almaviva, who wants to marry her (La donna del lago under Riccardo Muti), Opera North, Glyndbourne Festival Opera, Memorial Scholarship. She has appeared with only for her money. She agrees to marry Paolo Erisso (Maometto II) and Belmonte (Die Scottish Opera and Welsh National Opera, as all the major British opera companies, Bartolo at once and tells him about the Entführung aus dem Serail under Wolfgang well as having appeared abroad with San throughout Europe, in the United States, planned elopement. Sawallisch). With The Royal Opera, Covent Diego Opera, New Israeli Opera, Opéra Canada, Russia and in Japan. Her repertoire Figaro and the Count return at the Garden he has enjoyed a string of successes national de Paris-Bastille, Opéra-Comique, includes the title roles in Ariodante, La appointed time and climb in through the including Almaviva, the title role in Mozart’s Gran teatre del Liceu in Barcelona, as well as Cenerentola and Carmen, as well as Rosina, window. Rosina repulses ‘Lindoro’ until she Mitridate, re di Ponto, Ferrando in Così fan in Lyon, Nantes, Montpellier, Copenhagen, Herodias (Salome), Baba the Turk (The Rake’s learns that he is himself Almaviva. She falls tutte, Lindoro in L’italiana in Algeri and Amsterdam, Vancouver and Ottawa. His many Progress), Marcellina, Adalgisa, Dido (Les into his arms. They are unable to escape, Osiride in Mosè in Egitto. Acclaimed engagements have included the title roles of Troyens and Dido and Aeneas), Donna Elvira, however, as Bartolo has removed their ladder appearances elsewhere include San Francisco, Wozzeck, Falstaff, King Priam, Gianni Schicchi Brangäne, Hermia (A Midsummer Night’s from outside the window. Basilio, arriving Chicago, Los Angeles, Salzburg, Amsterdam, and Don Pasquale, as well as Dulcamara (The Dream), Juno (Semele) and the Hostess (Boris with a notary who is to marry Rosina to her Zurich, Lausanne, Geneva, Catania, Florence, Elixir of Love), Don Alfonso (Così fan tutte), Godunov). Della Jones broadcasts regularly on guardian, is easily bribed to witness instead the Naples, Bologna, Lyon and Paris. Figaro (Le nozze di Figaro), Papageno, King radio and television and her many recordings

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include Alcina, L’incoronazione di Poppea, La Outis at La Scala, Milan, and the Châtelet Chicago and New Israeli Opera, Tel Aviv, as Festival, Olympia, Antonia and Giulietta (Les clemenza di Tito and Korngold’s Die Kathrin. théâtre musical in Paris and as Mr Redburn in well as in San Francisco, Amsterdam, Cologne, Contes d’Hoffmann) at the Grand théâtre de She has recorded Gabriella di Vergy semi-staged performances of the two-act Rome and Seattle. He has also appeared at Limoges and Elisabetta (Maria Stuarda) at (Donizetti), Maria Padilla (Donizetti), Il version of Britten’s Billy Budd at London’s major festivals throughout the world, such as Theater Basel. Her recordings include, for crociato in Egitto (Meyerbeer), Ricciardo e Barbican Centre, a production subsequently those in Orange, Aix-en-Provence, Istanbul, Opera Rara, Mercadante’s Orazi e Curiazi and, Zoraide (Rossini) and Dinorah (Meyerbeer) for recorded by Chandos for release in Spring Bregenz and the Maggio musicale in Florence. for Chandos/Peter Moores Foundation, Opera Rara, and her numerous recordings on 2000. Other appearances on Chandos include Among his many roles are Ramfis, Fasolt, highlights from Der Rosenkavalier. Chandos include Sancta Susanna (Hindemith), The Rape of Lucretia (Britten), Martin’s Lie Hunding, Pimen, Osmin, King Marke, Baron The Bear (Walton) and, for Chandos/Peter (Menotti), Troilus and Cressida (Walton), as Ochs, Rocco, Bottom (A Midsummer Night’s The Chorus of English National Opera is one Moores Foundation, La traviata and Julius well as Mary Stuart, Pagliacci and La bohème Dream), Banquo (Macbeth), Cadmus/Somnus of the Company’s finest assets. In countless Caesar. (all in collaboration with the Peter Moores (Semele), Gessler (Guillaume Tell), Mustafa English National Opera productions they have Foundation). (L’italiana in Algeri) and Walter (Luisa thrilled audiences with the power of their Born in Cornwall, Alan Opie studied at the Miller). His many recordings include, for singing and the intensity of their acting. There Guildhall School of Music and the London Born in Canterbury, Peter Rose read music at Chandos/Peter Moores Foundation, the are sixty-eight choristers and the wide range of Opera Centre. He was Principal Baritone with the University of East Anglia and studied with award-winning Tosca and this Barber of skills and experience they bring to English National Opera for many seasons and Ellis Keeler at the Guildhall School of Music Seville. performances distinguish any production in has sung with all the major British opera and Drama. He made his operatic debut as the which they appear. Particular triumphs for the companies. Abroad he has appeared at the Commendatore with Glyndebourne Festival Jennifer Rhys-Davies, who studied at the Chorus have been Prokofiev’s War and Peace, opera houses of Bayreuth, Paris (Opéra Opera in Hong Kong in 1986 and was Trinity College of Music, has achieved great Shostakovich’s Lady Macbeth of Mtsensk, national de Paris-Bastille), Amsterdam, principal bass with Welsh National Opera success in such major roles as Donna Anna, Britten’s Billy Budd and Peter Grimes, Chicago, Milan (Teatro alla Scala), Munich until 1989. He has performed under the Donna Elvira, Konstanze, Queen of the Night, Mussorgsky’s Boris Godunov, Bizet’s Carmen (Bavarian State Opera), Berlin, Vienna, world’s foremost conductors and appeared Pamina, Miss Jessel (The Turn of the Screw), and Verdi’s Otello. Their recording of the last, Brussels and New York (The Metropolitan with all the major British opera companies, Lucia, Semiramide and Lady Macbeth. At The in Jonathan Miller’s production conducted by Opera). Recently he appeared as Beckmesser including The Royal Opera, Covent Garden, Royal Opera, Covent Garden she has appeared Mark Elder, is soon to appear on Chandos (Die Meistersinger von Nürnberg) at Vienna English National Opera and Scottish Opera. as Berta (Il barbiere di Siviglia), Amaltea (Mosè under the sponsorship of the Peter Moores State Opera and was invited to return as Abroad he has sung at The Metropolitan in Egitto), Clorinda (La Cenerentola), Foundation, as are their recordings of Werther Balstrode in Peter Grimes, a roll he also sang in Opera, New York, the Opéra-Comique, Paris, Marianne (Der Rosenkavalier), Anna (Nabucco) with Dame Janet Baker under Sir Charles Chandos’ Grammy Award-winning recording German State Opera, Berlin, Hamburg State and Sieglinde, and she sang the Italian Mackerras and of the celebrated ‘Ring Cycle’ of the opera. He appeared in Luciano Berio’s Opera, Vienna State Opera, Lyric Opera of Soprano (Capriccio) at the Glyndebourne conducted by Sir Reginald Goodall. Other

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Chandos/Peter Moores Foundation recordings Mackerras and of Verdi’s Otello under Mark Madama Butterfly, Tosca and Wozzeck, among Giglio in Lucca, Linda di Chamounix in are Mary Stuart, Julius Caesar, Rigoletto Elder. Other recordings for Chandos/Peter others. In 1998 he opened the Donizetti Bologna and I puritani in Spain. He has also (Jonathan Miller’s production) and La Moores Foundation are Mary Stuart, Julius Festival in Bergamo with L’elisir d’amore and conducted Eine Nacht in Venedig at Komische traviata. Caesar, Rigoletto (Jonathan Miller’s returned to conduct La bohème. Recently Oper, Berlin and appeared at the Norwegian production) and La traviata. Gabriele Bellini has also conducted Norma in Opera, Oslo, The Royal Opera, Covent Critically and publicly acclaimed, The Groeningen, La rondine at the Teatro del Garden as well as in Göteborg and Leipzig. Orchestra of English National Opera, Leader Born in Legnago near Verona Gabriele Bellini Barry Griffiths, has in recent years received was educated at the Conservatorio Benedetto several prestigious awards, including the Royal Marcello in Venice and the Conservatorio Philharmonic Society Music Award and an Giuseppe Verdi in Milan, where he graduated Olivier Award for Outstanding Achievement in in horn, composition and conducting. He Opera. The Orchestra is at the heart of the continued his conducting studies with Franco Company’s artistic life and as well as opera Ferrara, Hermann Scherchen, Sergiu performances in the London Coliseum has Celibidache and Hans Swarowsky. His

also been seen on the concert platform. In professional engagements have ranged across Workman Robert Catherine Ashmore addition many of the players participate in the Europe and the United States and included work of the Baylis Programme of the collaborations with Claudio Abbado at the Company’s education and outreach Teatro alla Scala, Milan for many seasons. He department and with the English National has served as Artistic Director and Musical Opera Studio in the development of new Director of Connecticut Grand Opera and as operas, in particular Mark Anthony Turnage’s guest conductor of the American Symphony The Silver Tassie which has its world premiere Orchestra and at the Cincinnati Opera House. in February 2000. The Orchestra appears in An association with the Orkest van Hetoosten many recordings, including the celebrated at Opera Forum in Enschede, The ‘Ring Cycle’ conducted by Sir Reginald Netherlands that began in 1988 culminated in Goodall, which is soon to appear on Chandos his appointment as Chief Conductor of the under the sponsorship of the Peter Moores Orchestra from 1992 to 1997, during which Foundation, as are its recordings of Werther period he conducted performances of Macbeth, Bruce Andrew with Dame Janet Baker under Sir Charles Stiffelio, Rigoletto, Il trovatore, Falstaff, Ford Shore

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Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Littlewoods mail order, chain store and football pools group. He was educated at Eton and inheritance to establish the Peter Moores Foundation, a charity designed to support those Christ Church, Oxford, where he read modern languages – he was already fluent in German causes dear to his heart: to make music and the arts more accessible to more people; to give and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne encouragement to the young and to improve race relations. Festival Opera before going up to university, and after Oxford he became a production student at the Vienna State Opera, combining this with a three-year course at the Vienna PETER MOORES FOUNDATION Academy of Music and Dramatic Art. In the field of music, the main areas supported by the Peter Moores Foundation are: By the end of his third year at the Academy Moores had produced the Vienna premiere of the recording of operas from the core repertory sung in English translation; the recording Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera or staging of rare Italian opera from the bel canto era of the early nineteenth century House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic (repertoire which would otherwise only be accessible to scholars); the nurturing of career. At this point he received a letter from his father asking him to come home as he was promising young opera singers; new operatic work. needed in the firm. Family loyalty being paramount, he returned to Liverpool. The Foundation awards scholarships annually to students and post-graduates for furthering By 1977, he was Chairman of Littlewoods. Three years later their vocal studies at the Royal Northern College of Music. In addition, project awards may be he stepped down from the post, although still remaining on given to facilitate language tuition in the appropriate country, attendance at masterclasses or the Board. He was a director of a merchant bank from 1978 summer courses, specialised repertoire study with an acknowledged expert in the field, or to 1992. From 1981 to 1983 he was a Governor of the BBC, post-graduate performance training. and a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received Christina Burton/PMF publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made an these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera Honorary Member of the Royal Northern College of Music in to the full, there must be no language barrier, particularly for newcomers and particularly in the 1985. In May 1992 he became Deputy Lieutenant of popular repertoire – hence the Opera in English series launched with Chandos in 1995. This Lancashire, and in the New Year’s Honours List for 1991, he includes many of the English language recordings funded by the Foundation in the 1970s and was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s and is now the largest recorded collection of operas sung in English.

20 21 CHAN 3025(2) BOOK.qxd 22/8/07 1:36 pm Page 22 Bill Rafferty Bill Bill Rafferty Bill

Alan Opie as Figaro Della Jones as Rosina (English National Opera) (English National Opera)

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hatte ursprünglich sogar “Nummern” gegenwärtigem Geschmack eher lahm und Gioachino Rossini: Der Barbier von Sevilla dazugeschrieben, die vertont werden sollten. schwach. Als sich Rossini 1816 an die Arbeit Was das Stück zu etwas Besondere machte, machte, war Paisiello überholt, teilweise Rossini hat 40 Opern geschrieben – alle vor von zwei Werken, sei es Drama oder Oper, die war die Figur des Figaro, eines ungewöhn- deshalb, weil Musik grundsätzlich innerhalb seinem 38. Geburtstag, als er noch weitere 38 gleichermaßen bühnenwirksam sind, eines lichen gewöhnlichen Mannes jener Sorte, die von etwa dreißig Jahren aus der Mode kam (ein Jahre zu leben hatte -– und doch gab es eine häufiger auf dem Programm steht als das in der Revolution eine bedeutende Rolle Repertoire von immer wieder gespielten Zeit, als man sich seiner nur als Komponist andere, weil es bekannter ist. Der Barbiere war spielen sollten: Hansdampf in allen Gassen, der Werken begann sich gerade erst zu bilden), aber einer einzigen Oper erinnerte: dem Barbiere di längst berühmt, als der ewig unter Druck sich mit Verstand durchs Leben schlägt, sozial vor allem deshalb, weil die Jahre der Revolution Siviglia. stehende Rossini und sein Librettist Cesare Höhergestellten gegenüber respektlos ist (in und der napoleonischen Feldzüge ein neues Das traf besonders in der Epoche zu, die Sterbini ihn im kalten römischen Winter des gewissen Grenzen, solange sie noch Publikum hervorgebracht hatten: bürgerlicher, Wagner unumschränkt beherrschte, ungefähr Jahres 1816 als Thema wählten. Beaumarchais’ höhergestellt waren), und immer bereit, ihnen ungeduldiger, eifriger auf starke Empfindungen zwischen 1880 und 1920. Die vielen ernsten Komödie von 1775 behauptete sich nach wie eins auszuwischen oder sie auszunutzen. In der erpicht, insbesondere auf jene, die Militärmusik Opern Rossinis waren in der Versenkung vor auf der Bühne und tut es in Frankreich bis Oper, die nicht soviele Worte macht wie das hervorruft. Rossini lieferte genau das, was es verschwunden, bis auf die eine oder andere auf den heutigen Tag. Dazu trug der Triumph Schauspiel, wird seine Figur ein wenig verlangte: Frische, Schmiß, Tempo. Aufführung von Guillaume Tell oder Mosè in der Fortsetzung mit dem Titel Le Mariage de vergröbert; seine plebejische Vitalität schlägt Die Geschichte, daß die Premiere seines Egitto. Selbst komische Opern wie L’italiana in Figaro bei. (Das dritte Stück der Trilogie, La durch in seiner berühmten Auftrittsarie, ebenso Barbiere schiefgelaufen sei, weil sich das Algeri und La Cenerentola, überaus erfolgreich Mère coupable (Der neue Tartuffe), ist ein sein unumwundenes Interesse am Geld. Publikum im Namen Paisiellos empört habe, zu ihrer und wieder in unserer Zeit, waren ödes, salbungsvolles Melodram: Beaumarchais Nachdem das Theaterstück bestens ist höchstwahrscheinlich eine Ente. Es war untergegangen. Der Barbiere dagegen setzte war von der französischen Revolution und eingeführt war, verwandelte Giovanni Paisiello, damals allgemein üblich, daß mehrere unbeirrt seinen Siegeszug fort. Einige der deren Forderung nach Ernsthaftigkeit der führende italienische Komponist des Komponisten Opern zum gleichen Thema, ja besten Sänger traten Jahr um Jahr darin auf, eingenommen worden.) Der Original-Barbiere, ausgehenden 18. Jahrhunderts, es in eine sogar nach ein und demselben Libretto ebenso einige der schlechtesten; nach 1940 eine raffinierte Intrigenkomödie, stützte sich komische Oper. Dieser Barbiere machte nach schrieben. Rossini und Sterbini verwendeten wurde die Oper gar unter dem Titel Once auf die Konventionen der komischen Oper – seiner Uraufführung 1782 in St. Petersburg für ihre Fassung einen neuen Titel (sie hieß Over Lightly zum Broadway-Musical Rückbesinnung auf das alte italienische erfolgreich in ganz Europa die Runde. Die zunächst Almaviva – passenderweise, denn der verarbeitet, mit einem russischen Figaro; das Fastnachtsspiel, und das mit einer heute seltenen Darbietungen anläßlich von Star war der Tenor Manuel García) und aber war wohl des Guten zuviel. altbekannten Handlung vom greisen Festspielen zeigen, daß es sich um ein spielten die berühmte Nies- und Gähnszene Was hat dieses Werk an sich, das es zum Vormund, dessen Plan, sein hübsches Mündel vergnügliches, melodisches Werk handelt, mit herunter; das waren normale Vorsichtsmaß- Dauerbrenner macht? Erfolg nährt sich hin zu heiraten, von junger Liebe und gewitzten einer komischen Szene für Bartolos niesende nahmen. Außerdem ließen sie einen Zettel und wieder selbst: Es kann vorkommen, daß Bediensteten vereitelt wird; Beaumarchais und gähnende Dienerschaft, aber nach drucken, auf dem stand, daß sie dem alten

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Komponisten (der nur drei Monate später vierzehn Tagen Verspätung an. Rossini blieben, neuerdings auf Achtbarkeit bedachten kommt. Sie alle sind die Vorläufer des sterben sollte) nicht zu nahe treten wollten. nachdem er den ersten Teil des Librettos Bürgertum. Der Barbiere jedoch destilliert den Polizistenchors in The Pirates of Penzance, der Passiert war jedoch offenbar folgendes: Rossini erhalten hatte (25. Januar), nicht ganz vier Charakter der komischen Oper alten Stils sich seines “katzengleichen Schritts” rühmt. hatte sich den Zorn jüngerer, rivalisierender Wochen, bis er bei der Premiere (20. Februar) heraus, ein Zusammenfinden des Unsinnigen Die Figuren nutzen das Theater aus, um sich Komponisten zugezogen, und die Anhänger den Continuo-Part zu spielen hatte. Für einen mit dem Rücksichtslosen. über ihre eigene Theatralik lustig zu machen. eines konkurrierenden Theaters nahmen übel, Komponisten war das nichts Ungewöhnliches; “Er spielt mit allem: mit Witz, mit Zu Anfang dieses abschließenden Trios daß sich das Teatro Argentina auf das Gebiet aber das Ensemble war vermutlich erschöpft Philosophie, mit Dramatik, mit Darstellern übernimmt Figaro Almavivas schwärmerische der komischen Oper vorgewagt hatte. Haupt- von der Hast, die den Saisonstart (mit und Publikum, mit dem ganzen Theater.” So Melismen, mit denen der Tenor seine und grund für die Buhrufe am Premierenabend L’italiana in Algeri) begleitet hatte, und schrieb George Bernard Shaw über Oscar Rosinas Liebe feiert, anstatt ihre Flucht war jedoch, daß man es mit der üblichen Eile anschließend davon, den Barbiere einstudieren Wilde. Und so hätte man auch über Rossini sicherzustellen. Dies ist die letzte von der italienischen Opernsaison diesmal etwas zu und proben zu müssen, während es pro Woche schreiben können. (Es mag den Anschein mehreren musikalischen Parodien. Bartolos weit getrieben hatte. fünf Vorstellungen gab. Einer holprigen haben, als entziehe sich das Spiel “mit Liedchen in der Gesangsstundenszene bedient Am Teatro Argentina, dem führenden Premiere folgten gelungene spätere Philosophie” seinem Zugriff – bis wir uns sich der Musik, die er wohl in seiner Jugend Theater Roms, wären um diese Zeit Aufführungen, und von da an gab es für die erinnern, daß Hegel und Schopenhauer, (vor Paisiello) gehört hat, und seine große Arie normalerweise ernste Opern gelaufen. Daß Oper kein Halten mehr. beides ernsthafte Philosophen, seine Werke mit den kunstvollen Wiederholungen nutzt man Rossini gebeten hatte, anstelle eines Nicht nur war sie unter den reinen sehr schätzten.) Von Anfang bis Ende spielt er musikalische Pedanterie, um den trockenen klassischen Dramas den Barbiere zu komischen Opern italienischer Tradition eine mit den Konventionen der Oper - wie er es alten Rechtsgelehrten zu verspotten. Die bearbeiten, hatte finanzielle Gründe: Mit dem der besten, sondern auch fast die letzte bereits in Il turco in Italia getan hatte: Darin endlosen Botschaften von Frieden und Freude, Sturz Napoleons und der Rückkehr des überhaupt. Rossinis Cenerentola, die im schreibt eine der Figuren das Werk, während die der vermeintliche Abbé von sich gibt, Papstes hatte das Theater seine Subventionen folgenden Jahr herauskam, und die es abläuft. In der Eröffnungsszene des Barbiere parodieren die Vertonung solcher frommen eingebüßt, die in ganz Europa herrschende bekanntesten komischen Werke Donizettis verhöhnt die Danksagung der Musiker, die ein Worte in manch einem Werk der Wirtschaftskrise hatte die Publikumszahlen (L’elisir d’amore und Don Pasquale) haben Ständchen bringen, die Angewohnheit von Kirchenmusik. Figaros Loblied auf das Gold, schwinden lassen, und komische Oper war sentimentale bzw. realistische Anklänge, die Opernchören, lautstarke und wiederholte das in der ersten Szene den Auftakt zu seinem relativ billig zu inszenieren. Dennoch mußte von einer gemütlicheren Epoche künden. Geräusche von sich zu geben, während sie Duett mit Almaviva bildet, läßt den der Besitzer und Impresario verzweifelte Außerdem kam die komische Oper allmählich eigentlich auf Zehenspitzen abzugehen hätten. unheilverkündenden Tonfall ernster Opern Anstrengungen unternehmen, um eine Truppe aus der Mode: Sie paßte weder zu den Genauso hält es am Ende der Oper das Trio, anklingen. zusammenzustellen (“Es ist schlimm genug, ängstlichen und verklemmten monarchischen in dessen Verlauf Figaro und die Liebenden Am schärfsten wird die Parodie dort, wo um einen armen Teufel wie mich Blut spucken Regimes, die nach dem Niedergang Napoleons solange die Notwendigkeit beteuern, leise zu Rossini die von ihm selbst bevorzugten zu lassen”, schrieb er), und die Saison fing mit wieder an die Macht kamen, noch zum sein, bis ihnen die Leiter zur Flucht abhanden Kunstgriffe aufs Korn nimmt – das Crescendo,

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das in einen lärmenden Ausbruch übergeht, Fähigkeit, sich ironisch auszulassen. Dies ist aus, zu lachen. Der überstürzte Schlußteil des Bekanntschaft zu machen, versichert er sich der und die elegante Klangkaskade der Koloratur. keine unglücklich verliebte romantische Heldin: Finales zum I. Akt sorgt für das, was seinerzeit Unterstützung des Barbiers Figaro, der sich mit In seinen ernsten Opern kann beides Glänzend und spöttisch humorvoll in ihrem der für Rossini typische “planmäßige und seiner Fähigkeit brüstet, in der ganzen Stadt für willkürlich eingesetzt erscheinen. Im Barbiere Duett mit Figaro, durch und durch reizend und vollkommene Wahnsinn” genannt wurde. Bei Ordnung zu sorgen. Trotz der Wachsamkeit paßt sogar übertriebenes Crescendo bestens zu amüsant im letzten Teil der Gesangsstunde einer ausschließlich italienischen Besetzung, ihres Vormunds gelingt es Rosina, einen Brief dem, was gesungen wird – als die (während Bartolo schläft) ist sie, wie wir die den Originaltext voll zur Geltung bringt vom Balkon zu werfen, in dem sie Almaviva Verleumdung in Basilios gefeierter Arie immer heraushören können, ein von sich überzeugtes (was bei Aufnahmen, die ein internationales nach seinem Namen fragt und seine Artigkeiten weiter um sich greift. Erfahrene Ohren – wie junges Ding. (Im 19. Jahrhundert nahmen sich Publikum erreichen sollen, nicht oft zustande erwidert. Der Graf stellt sich Rosina als armer sie das ursprüngliche Publikum hatte – deuten die Soprane der Partie an und machten aus der kommt), erlangt dies erhebliche Bedeutung. Student mit Namen Lindoro vor. Figaro rät das Crescendo mit seinen jähen Gesangsstunde ein Konzert, das mit allem Das gleiche gilt in anderer Form, wenn wie bei ihm, er solle sich, um Einlaß ins Haus zu Modulationen, die im “Kanonenschuß” möglichen gespickt war, vom Heimatlied bis der vorliegenden Einspielung alle Sänger erlangen, als Soldat ausgeben, der bei Doktor gipfeln, als Auftrumpfen: “Seht ihr? Ich kann hin zu extravaganten Variationen. An sich dieselbe Sprache sprechen – auch wenn es die Bartolo einquartiert werden soll, und so tun, als mindestens so schön dramatisch sein wie die gehört sie einem Mezzosopran wie Della Jones Sprache eines Landes ist, dessen sei er betrunken. anderen?” Auch das ist eine feinsinnige – in der laut Rossini natürlichen Stimmlage der frühmorgendliche Temperaturen kaum je zu Verulkung des Operngenres. italienischen Frau. Dann wirkt die Serenaden anregen. Im Haus Auf Koloraturen greift Rossini in der Gesangsstundenszene am besten so, wie sie Bartolo sind Gerüchte über Almavivas Auftrittsarie des Tenors zurück, um Almaviva geschrieben steht.) © 1995 John Rosselli Interesse an Rosina zu Ohren gekommen, und als temperamentvollen, anmutigen Liebhaber Der Kern der Oper steckt in den zwei Übersetzung: Anne Steeb/Bernd Müller er beschließt, sie unverzüglich zu heiraten. darzustellen. (Die Oper endete ursprünglich vortrefflich gestalteten Ensemblenummern – Rosinas Gesangslehrer, ein skrupelloser kurz vor dem abschließenden Ensemble mit dem langen Finale zum I. Akt und dem Inhaltsangabe Geistlicher namens Don Basilio, ist Bartolos einer ausführlichen Glanznummer für García, Quintett, in dem die übrigen vier Graf Almaviva, ein spanischer Edelmann, ist in Vertrauter. Almaviva tritt als betrunkener doch das hielt zu sehr die Handlung auf; später Hauptfiguren dem verwirrten Don Basilio gut Rosina verliebt, das Mündel von Doktor Soldat verkleidet auf, um beim Doktor übertrug der Komponist sie der Titelheldin von zureden, wieder ins Bett zu gehen. Bei beiden Bartolo, einem alten Arzt, der vorhat, sie selbst Quartier zu beziehen. Rosina ist beglückt, als Cenerentola, einem Mezzosopran, als werden die unterschiedlichen Abschnitte zu heiraten. sie in ihm ihren Bewunderer erkennt. Der Schlußnummer.) An anderer Stelle dienen durch eine kecke, immer wiederkehrende Ärger des Doktors über das Gebaren des Koloraturen dazu, Rosinas Persönlichkeit Phrase und eine durchgehende, einprägsame I. Akt “Soldaten” verursacht solchen Aufruhr, daß die scharfe Konturen zu geben. Ihre berühmte erste Begleitung zusammengehalten. Von Auf der Straße vor Bartolos Haus Nachbarn die Wache rufen. Doch der Graf Arie verdeutlicht ihr Durchsetzungsvermögen, Menschen, die aussehen und sich anhören wie Der Graf bringt Rosina mit Hilfe einer Schar entzieht sich der Festnahme, worüber Bartolo ihre Beherrschung der Situation und ihre Maschinen, geht im Theater ein starker Anreiz von Musikern ein Ständchen. Um ihre sehr wütend ist.

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II. Akt daß er selbst Almaviva ist. Sie sinkt in seine Almaviva, in der Titelrolle von Mozarts Opera, der New Israeli Opera, der Opéra In Bartolos Haus, später am selben Tag Arme. Doch die Flucht ist ihnen verwehrt, Mitridate, re di Ponto, als Ferrando in Così fan national de Paris-Bastille, der Opéra-Comique, Der Graf legt eine neue Verkleidung an und denn Bartolo hat die Leiter vor dem Fenster tutte, Lindoro in L’italiana in Algeri und dem Gran teatro del Liceu in Barcelona, in betritt das Haus als Don Alonso, ein entfernt. Basilio erscheint mit einem Notar, der Osiride in Mosè in Egitto. Mit Beifall bedacht Lyon, Nantes, Montpellier, Kopenhagen, Musiklehrer. Er behauptet, er sei gekommen, Rosina und ihren Vormund trauen soll, läßt wurden seine Auftritte in San Francisco, Amsterdam, Vancouver und Ottawa um Rosina in Vertretung von Don Basilio, der sich aber ohne weiteres bestechen, statt dessen Chicago, Los Angeles, Salzburg, Amsterdam, aufgetreten. Seine zahlreichen Verpflichtungen plötzlich erkrankt sei, eine Gesangsstunde zu als Zeuge der Eheschließung Rosinas und des Zürich, Lausanne, Genf, Catania, Florenz, haben die Titelrollen von Wozzeck, Falstaff, geben. Während des Unterrichts teilt der Graf Grafen beizuwohnen. Bartolo kommt zu spät Neapel, Bologna, Lyon und Paris. King Priam, Gianni Schicchi und Don Pasquale Rosina heimlich sein Vorhaben mit, sie um und muß einsehen, daß er sie verloren hat. Bruce Ford hat für Opera Rara zahlreiche eingeschlossen. Darüber hinaus hat er Mitternacht zu entführen. Figaro, der Tonträger aufgenommen, darunter Meyerbeers Dulcamara (L’elisir d’amore) gesungen, Don erschienen ist, um Bartolo zu rasieren, schafft Im Lauf der vergangenen zehn Jahre hat sich Il crociato in Egitto, Mayrs Medea in Corinto, Alfonso (Così fan tutte), Figaro (Le nozze di es, den Schlüssel zur Balkontür an sich zu Bruce Ford als vielseitig einsetzbarer Belcanto- Donizettis Rosmonda d’Inghilterra, Rossinis Figaro), Papageno, den Zaren Dodon (Le Coq bringen. Da trifft zu ihrer Bestürzung Basilio Tenor einen Namen gemacht und sich auf Ricciardo e Zoraide, Pacinis Maria, regina d’or), Leandro (Die Liebe zu den drei Orangen), ein, wahrt jedoch, als ihm ein Beutel Geld Mozart- und Rossini-Partien spezialisiert. d’Inghilterra, Donizettis Maria de Rudenz, Dikoj (Katja Kabanowa), Dr. Kolenat´y (Die zugesteckt wird, den Anschein, krank zu sein. Nach seinem Debüt 1990 bei den Rossini- Rossinis Otello und zwei Soloprogramme Sache Makropulos), Sˇisˇkov (Aus einem Bartolo, der dennoch Verdacht geschöpft hat, Festspielen in Pesaro, wo er mit weniger als (Rossini – Three Tenors und Romantic Heroes). Totenhaus), Frank (Die Fledermaus), den Baron ertappt die Liebenden bei einem zwei Wochen Vorlauf als Agorante in Ricciardo Für Chandos und die Peter Moores (La Vie parisienne), Baron Trombonok (Il kompromittierenden Gespräch. e Zoraide aufgetreten ist, hat er regelmäßig in Foundation hat er ein Soloprogramm mit viaggio a Reims), Warlaam (Boris Godunow) Als der Graf und Figaro fort sind, hält Pesaro gastiert (und Rossinis Otello, Il barbiere Opernarien aufgezeichnet. und Faninal (Der Rosenkavalier). Für Chandos Bartolo Rosina den Brief vor, den sie an di Siviglia und Zelmira gesungen) und war an und die Peter Moores Foundation hat er an Lindoro gerichtet hat, und überrumpelt sie mit den meisten bedeutenden Opernhäusern und Andrew Shore gilt als der herausragende folgenden Aufnahmen mitgewirkt: L’elisir der Behauptung, Lindoro sei ein Abgesandter Festspielstätten Europas zu sehen. Am Teatro Buffo-Bariton Großbritanniens und ist ein d’amore, Don Pasquale, La bohème und Almavivas, der sie nur ihres Geldes wegen alla Scala in Mailand ist er unter anderem als ausgezeichneter Sänger und Schauspieler. Er Highlights aus dem Rosenkavalier sowie der heiraten wolle. Sie erklärt sich bereit, Bartolo Uberto (La donna del lago unter Riccardo hat für alle großen britischen Opernensembles vorliegende Barbiere di Siviglia und die sofort zu ehelichen, und erzählt ihm von der Muti), Paolo Erisso (Maometto II) und gearbeitet, so auch für die English National preisgekrönte Tosca. geplanten Entführung. Belmonte (Die Entführung aus dem Serail Opera, die Royal Opera, Covent Garden, Figaro und der Graf kehren zur verabredeten unter Wolfgang Sawallisch) aufgetreten. Mit Opera North, die Glyndebourne Festival Della Jones wurde in Neath geboren und am Zeit zurück und steigen durchs Fenster ein. der Royal Opera, Covent Garden hat er eine Opera, Scottish Opera und Welsh National Royal College of Music ausgebildet, wo sie Rosina weist “Lindoro” zurück, bis sie erfährt, Reihe von Erfolgen gefeiert, beispielsweise als Opera, und ist im Ausland an der San Diego zahlreiche Preise gewonnen hat, darunter das

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Stipendium Kathleen Ferrier Memorial London Opera Centre studiert. Er war viele Stuarda, Pagliacci und La bohème (jeweils in Hunding, Pimen, Osmin, König Marke, Baron Scholarship. Sie ist zusammen mit allen Spielzeiten lang Baritonsolist an der English Zusammenarbeit mit der Peter Moores Ochs, Rocco, Bottom (A Midsummer Night’s bedeutenden britischen Operntruppen, in National Opera und hat zusammen mit allen Foundation). Dream), Banquo (Macbeth), Cadmus/Somnus vielen Teilen Europas, in den USA, in Kanada, bedeutenden britischen Opernensembles (Semele), Geßler (Guillaume Tell), Mustafa Rußland und Japan aufgetreten. Ihr Repertoire gesungen. Außerhalb Großbritanniens ist er an Peter Rose wurde in Canterbury geboren, hat (L’italiana in Algeri) und Walter (Luisa umfaßt die Titelrollen von Ariodante, La den Opernhäusern von Bayreuth, Paris (Opéra an der University of East Anglia Musik studiert Miller). Auf Tonträger hat er unter anderem Cenerentola und Carmen, Rosina, Herodias national de Paris-Bastille), Amsterdam, und wurde von Ellis Keeler an der Guildhall für Chandos und die Peter Moores (Salome), Baba the Turk (The Rake’s Progress), Chicago, Mailand (Teatro alla Scala), School of Music and Drama ausgebildet. Sein Foundation die preisgekrönte Tosca und Marcellina, Adalgisa, Dido (Les Troyens und München (Bayerische Staatsoper), Berlin, Operndebüt gab er als Komtur beim Gastspiel den vorliegenden Barbiere di Siviglia Dido and Aeneas), Donna Elvira, Brangäne, Wien, Brüssel und New York (The der Glyndebourne Festival Opera 1986 in aufgenommen. Hermia (A Midsummer Night’s Dream), Juno Metropolitan Opera) aufgetreten. In jüngster Hongkong und war dann bis 1989 Baßsolist (Semele) und die Schenkwirtin (Boris Zeit war er als Beckmesser (Die Meistersinger an der Welsh National Opera. Er ist unter der Jennifer Rhys-Davies, die am Trinity College Godunow). Della Jones tritt regelmäßig in von Nürnberg) an der Wiener Staatsoper zu Leitung der führenden Dirigenten der Welt of Music ausgebildet wurde, hat in Rundfunk und Fernsehen auf, und zu ihren sehen und wurde erneut dorthin eingeladen, und mit allen bedeutenden britischen bedeutenden Rollen wie Donna Anna, Donna vielen Aufnahmen gehören Alcina, um als Balstrode in Peter Grimes aufzutreten, Operntruppen aufgetreten, darunter die Royal Elvira, Konstanze, die Königin der Nacht, L’incoronazione di Poppea, La clemenza di Tito eine Rolle, die er auch für die mit dem Opera, Covent Garden, die English National Pamina, Miss Jessel (The Turn of the Screw), und Korngolds Die Kathrin. Außerdem hat sie Grammy ausgezeichnete Chandos- Opera und Scottish Opera. Außerhalb Lucia, Semiramide und Lady Macbeth große für Opera Rara Gabriella di Vergy (Donizetti) Aufzeichnung der Oper gesungen hat. Er ist in Großbritanniens hat er an der Metropolitan Erfolge erzielt. An der Royal Opera, Covent aufgezeichnet, Maria Padilla (Donizetti), Il Luciano Berios Outis an der Mailänder Scala Opera in New York gesungen, an der Opéra- Garden ist sie als Berta (Il barbiere di Siviglia), crociato in Egitto (Meyerbeer), Ricciardo e und am Châtelet théâtre musical in Paris Comique in Paris, der Deutschen Staatsoper Amaltea (Mosè in Egitto), Clorinda (La Zoraide (Rossini) und Dinorah (Meyerbeer). aufgetreten, und als Mr. Redburn in einer teils Berlin, der Hamburgischen Staatsoper, der Cenerentola), Marianne (Der Rosenkavalier), Für Chandos hat sie unter anderem Sancta szenischen Aufführung der zweiaktigen Wiener Staatsoper, der Lyric Opera of Chicago Anna (Nabucco) und Sieglinde aufgetreten. Susanna (Hindemith) und The Bear (Walton) Fassung von Brittens Billy Budd am Londoner und der New Israeli Opera in Tel Aviv, in San Außerdem hat sie beim Glyndebourne Festival aufgenommen, für Chandos und die Peter Barbican Centre, die danach zur Herausgabe Francisco, Amsterdam, Köln, Rom und Seattle. die italienische Sängerin (Capriccio) gegeben, Moores Foundation La traviata und Giulio im Frühjahr 2000 von Chandos aufgezeichnet Er war bei bedeutenden Festspielen auf der Olympia, Antonia und Giulietta (Les Contes Cesare. wurde. Außerdem war er an folgenden ganzen Welt wie jenen in Orange, Aix-en- d’Hoffmann) am Grand théâtre de Limoges Chandos-Aufnahmen beteiligt: The Rape of Provence, Istanbul und Bregenz zu Gast, sowie und Elisabetta (Maria Stuarda) am Alan Opie, der aus Cornwall stammt, hat an Lucretia (Britten), Martin’s Lie (Menotti), beim Maggio musicale in Florenz. Zu seinen Stadttheater Basel. Sie hat unter anderem für der Guildhall School of Music und am Troilus and Cressida (Walton) sowie Maria zahlreichen Partien gehören Ramfis, Fasolt, Opera Rara Mercadantes Orazi e Curiazi und

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für Chandos und die Peter Moores sind Maria Stuarda, Giulio Cesare, Rigoletto Foundation, die sich auch auf seine Künstlerischer Leiter und Musikdirektor der Foundation Highlights aus dem Rosenkavalier (Regie: Jonathan Miller) und La traviata. Einspielung des Werther mit Dame Janet Baker Connecticut Grand Opera amtiert, als auf Tonträger aufgenommen. unter Sir Charles Mackerras und von Verdis Gastdirigent des American Symphony Das von der Kritik ebenso wie vom Publikum Otello unter Mark Elder erstreckt. Andere Orchester und des Cincinnati Opera House. Der Chor der English National Opera ist eine gefeierte Orchester der English National Aufnahmen des Orchesters für Chandos und Die Verbindung, die er 1988 mit dem Orkest Stütze der gesamten Truppe. In zahllosen Opera unter Konzertmeister Barry Griffiths die Peter Moores Foundation sind Maria van Hetoosten am Opernforum im Produktionen der English National Opera hat hat in den letzten Jahren mehrere angesehene Stuarda, Giulio Cesare, Rigoletto (in der niederländischen Enschede angeknüpft hatte, er das Publikum mit der Kraft seines Gesangs Preise gewonnen, beispielsweise den Inszenierung von Jonathan Miller) und La gipfelte in seiner Ernennung zum und der Intensität seiner Darstellung entzückt. Musikpreis der Royal Philharmonic Society und traviata. Chefdirigenten des Orchesters. Von 1992 bis Der Chor besteht aus achtundsechzig Sängern, einen Olivier Award für herausragende 1997 dirigierte er dort unter anderem und die weit gefächerten Talente und Leistungen im Bereich der Oper. Das Gabriele Bellini, in Legnago bei Verona Aufführungen von Macbeth, Stiffelio, Rigoletto, Erfahrungen, die sie in ihre Darbietungen Orchester ist von zentraler Bedeutung für das geboren, wurde am Conservatorio Benedetto Il trovatore, Falstaff, Madama Butterfly, Tosca einbringen, kennzeichnen jede Inszenierung, künstlerische Leben der Truppe und war nicht Marcello in Venedig und am Conservatorio und Wozzeck. 1998 eröffnete er die Donizetti- an der sie mitwirken. Besondere Triumphe für nur bei Opernvorstellungen im Londoner Giuseppe Verdi in Mailand ausgebildet, wo er Festspiele in Bergamo mit L’elisir d’amore und den Chor waren Prokofjews Krieg und Frieden, Coliseum, sondern auch auf dem sein Studium in den Fächern Horn, ist seither zurückgekehrt, um La bohème zu Schostakowitschs Lady Macbeth von Mzensk, Konzertpodium zu sehen. Zusätzlich sind viele Komposition und Dirigieren abschloß. dirigieren. In letzter Zeit hat Gabriele Bellini Brittens Billy Budd und Peter Grimes, der Musiker am Baylis-Programm der für Anschließend nahm er weiter außerdem Norma in Gröningen dirigiert, La Mussorgskis Boris Godunow, Bizets Carmen Schul- und Gemeindearbeit zuständigen Dirigierunterricht bei Franco Ferrara, rondine am Teatro del Giglio in Lucca, Linda und Verdis Otello. Seine Aufnahme der Abteilung des Orchesters beteiligt und Hermann Scherchen, Sergiu Celibidache und di Chamounix in Bologna und I puritani in letztgenannten Oper in der von Mark Elder arbeiten mit dem English National Opera Hans Swarowsky. Seine Verpflichtungen haben Spanien. Darüber hinaus hat er an der geleiteten Inszenierung von Jonathan Miller Studio an der Entwicklung neuer Opern, ihn nach ganz Europa und die USA geführt, Komischen Oper Berlin Eine Nacht in Venedig wird unter der Schirmherrschaft der Peter speziell an Mark Anthony Turnages The Silver beispielsweise zur jahrelangen geleitet und hat an der Norwegischen Oper in Moores Foundation demnächst bei Chandos Tassie, das im Februar 2000 uraufgeführt wird. Zusammenarbeit mit Claudio Abbado am Oslo, der Royal Opera, Covent Garden, in erscheinen, ebenso seine Aufzeichnung des Das Orchester hat an vielen Einspielungen Teatro alla Scala in Mailand. Er hat als Göteborg und Leipzig gastiert. Werther mit Dame Janet Baker unter Sir mitgewirkt, zum Beispiel am gefeierten Ring- Charles Mackerras und des gefeierten Ring- Zyklus unter der Leitung von Sir Reginald Zyklus unter der Leitung von Sir Reginald Goodall, der demnächst bei Chandos Goodall. Andere Aufnahmen des Chors für herauskommen wird. Dies geschieht unter der Chandos und die Peter Moores Foundation Schirmherrschaft der Peter Moores

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des serviteurs intelligents et madrés. Mieux éternuent et bâillent; mais dans l’ensemble une Gioachino Rossini: Le Barbier de Séville encore, pour faciliter la mise en musique, œuvre un peu trop fade et traînante pour les Beaumarchais avait écrit sa pièce avec des goûts modernes. Lorsque Rossini se mit à Rossini écrivit 40 opéras, tous avant son 38ème Qu’y-a-t-il donc dans cette œuvre qui la numéros. l’ouvrage en 1816, Paisiello n’était plus en anniversaire, c’est-à-dire pendant la première maintienne toujours aussi fraîche? Le succès, Mais ce qui donne au Barbiere son caractère vogue. Sa musique avait passé de mode en moitié de son existence, puisqu’il lui restait autrefois et aujourd’hui, se répète de lui-même. spécial, c’est le personnage de Figaro, homme trente ans (un répertoire d’œuvres qui se encore 38 ans à vivre. Pourtant, à un certain Les deux œuvres, opéra et comédie devenue hors du commun, du genre de ceux qui rejouaient constamment commençait à se moment, il ne fut plus connu que pour avoir classique, sont aussi attirantes sur une scène allaient jouer un rôle important dans la former), et surtout la révolution et la période composé la musique du Barbiere di Siviglia. lyrique que sur une scène de théâtre, l’une révolution. Maître Jacques à trente-six métiers, napoléonienne avaient ouvert accès à un C’est au moment où régnait la musique de étant plus souvent représentée que l’autre parce il vit d’inventions; irrévérencieux envers ses public nouveau, plus bourgeois, plus Wagner, entre 1880 et 1920, que l’oubli sévit qu’elle est mieux connue. La comédie était déjà supérieurs (mais seulement jusqu’au point où impatient, plus réceptif aux sensations fortes, à particulièrement. Les opéras sérieux célèbre quand Rossini, à court de temps, et son leur supériorité le permet), il est toujours prêt la musique militaire notamment, et Rossini lui disparurent de la scène, à part Guillaume Tell librettiste, Cesare Sterbini, décidèrent de s’en à les rouler ou à les exploiter. Dans l’opéra, les offrait ce qui lui plaisait alors: pétulance, et Mosè in Egitto auxquels furent accordées servir pendant le dur hiver romain de 1816. Le mots étant, par nécessité, beaucoup moins exaltation, entrain. quelques représentations occasionnelles en chef-d’œuvre de Beaumarchais (1775) se jouait nombreux que dans la pièce, le personnage est L’histoire de la première représentation du raison de leur statut de chefs-d’œuvre anciens. toujours avec autant de succès, aidé par le dessiné avec moins de subtilité; dès son air Barbiere de Rossini, victime d’une cabale Les opéras comiques, et même L’italiana in triomphe de la suite de l’histoire, Le Mariage de d’entrée au premier acte, il fait étalage d’un montée par les défenseurs de Paisiello, est sans Algeri et La Cenerentola qui avaient connu en Figaro (La troisième pièce de la trilogie, La dynamisme plébéien et d’un penchant pour les doute une invention. A cette époque, l’usage leur temps (et connaissent aujourd’hui) un Mère coupable (1792), est une comédie pièces d’or. permettait à plusieurs compositeurs d’écrire énorme succès ne furent plus qu’un souvenir. larmoyante et sentencieuse; Beaumarchais La comédie de Beaumarchais devenue des opéras sur le même sujet, et parfois sur le Mais Il barbiere di Siviglia poursuivit sa ayant été dépassé dans sa ferveur frondeuse par fameuse, Giovanni Paisiello, compositeur même livret. De plus Rossini et Sterbini carrière, bon an mal an. Parfois ce fureut les la révolution de 1789). Le Barbiere d’origine, italien très en vogue à la fin du 18ème siècle, avaient pris deux sages précautions; ils avaient meilleurs chanteurs du moment qui tirrent les comédie étincelante, dans laquelle brille le se chargea d’en faire un opéra comique. Créé à modifié le titre (le titre d’origine: Almaviva, rôles, parfois ce furent les pires. Dans les génie de l’intrigue, reposait en fait sur les Saint-Pétersbourg en 1782, son Barbiere convenait parfaitement au tenant du rôle-titre, années 40, à New York/Broadway, le Barbiere mêmes fondations que l’opéra comique – celles voyagea avec grand succès à travers l’Europe. le ténor-vedette Manuel García) et ils avaient fut transformé en comédie musicale, sous le de la vieille comédie de masques italienne, avec Aujourd’hui, quelques rares représentations de considérablement abrégé la scène des titre: Once Over Lightly (Une fois de plus, ses machinations centenaires: le vieux tuteur festivals, révèlent une œuvre charmante et éternuements et bâillements. Plus encore, ils légèrement) avec un Figaro russe, mais cette qui se propose d’épouser sa jolie pupille voit mélodieuse, avec une scène assez drôle au avaient fait publier une note déclarant qu’ils “fois de plus” s’avéra une fois de trop! l’amour déjouer ses plans, assisté en cela par cours de laquelle les serviteurs de Bartolo n’avaient nullement l’intention de froisser le

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vieux compositeur (qui mourut trois mois plus avec deux semaines de retard. Quatre semaines survécut en conservant son caractère de vieil Au début de ce même trio, Figaro imite tard). Ce qui se produisit ressemblerait plutôt s’étaient à peine écoulées entre la rédaction de opéra comique, à la fois absurde et avec irone Almaviva et ses mélismes [groupes à une démonstration de jalousie; de jeunes la première partie du livret (25 janvier) et la impitoyable. de notes chantées sur une seule syllabe] au compositeurs rivaux et quelques abonnés d’un création du Barbier (20 février) avec Rossini “Il joue de tout: humeur, philosophie, clair de lune, pour réaffirmer son amour théâtre concurrent protestèrent parce que, au continuo, selon la coutume. Pour un drame, et avec tous: acteurs, public et le envers Rosine au lieu de s’enfuir avec elle. selon eux, le Teatro Argentina aurait compositeur, ce régime accéléré n’était peut- théâtre entier” écrivait Bernard Shaw au sujet Mais ce n’est là que la dernière d’une série de outrepassé ses droits en montant un opéra être pas très éloigné de l’ordinaire, mais pour d’Oscar Wilde. On pourrait en dire autant de parodies musicales. Dans la scène de la leçon, comique. Cependant, au fond, les vrais les chanteurs, il frisait l’intolérable; ils étaient Rossini (la philosophie semblerait peut-être la petite chanson de Bartolo contrefait la problèmes de la première soirée étaient tout exténués. Pendant la bousculade des hors de son domaine, mais il ne faut pas musique qu’il aurait entendue dans sa jeunesse simplement le résultat d’une course frénétique préparatifs de la saison (qui avait commencé oublier que Hegel et Schopenhauer, deux (antérieure à Paisiello), et son grand air aux contre la montre, pour ouvrir à temps la saison par l’Italiana in Algeri), ils avaient dû grands et graves philosophes, admiraient répétitions poussées, musicalement pédant, se d’opéra; la course, bien qu’habituelle, avait été, apprendre les rôles du Barbiere, ensuite, alors beaucoup ses œuvres). Du début à la fin du gausse indirectement du vieux notaire cette fois-là, un peu trop frénétique. qu’ils interprétaient l’Italiana sur scène cinq Barbiere, Rossini se joue des conventions de desséché. Le début de la même scène, avec L’Argentina, principal théâtre de Rome, soirs par semaine. ils répétaient Il barbiere dans l’opéra (il l’avait déjà fait; dans Il turco in l’abbé qui semble prêcher sans fin la “bonne aurait dû normalement présenter un grand la journée. En fin de compte, la première et ses Italia, un des personnages écrit le scénario au nouvelle”, paix et béatitude, est une petite opéra. Mais, pour économiser de l’argent, la commotions furent vite oubliées grâce au fur et à mesure que l’action se déroule). Dès la moquerie des airs de cantiques sur lesquels se direction demanda à Rossini d’écrire un opéra succès de l’opéra, qui n’a jamais failli depuis. première scène, les musiciens, ayant donné la chantent ces paroles. L’éloge de l’or, que comique au lieu d’un drame lyrique classique. Opéra comique de pure tradition italienne, sérénade, remercient à tue-tête et ridiculisent prononce Figaro au premier acte dans son duo Après la chute de Napoléon et le retour du le Barbiere est aussi le dernier du genre. La ainsi les chœurs d’opéra chantant à pleine voix avec Almaviva, se fait l’écho des lignes pape, le théâtre avait perdu ses subsides; et la Cenerentola de Rossini, qui suivit un an après, la même phrase, plusieurs fois, alors qu’il serait prophétiques du grand opéra. crise économique, étendue à toute l’Europe, se et par la suite les deux grands succès comiques temps de partir sans se faire remarquer. A la La parodie va même plus loin lorsque Rossini manifestait, dans la salle, par des spectateurs de Donizetti, L’elisir d’amore et Don Pasquale fin de l’opéra, Figaro et le couple des amants satirise ses propres inventions – le crescendo qui moins nombreux. Un opéra comique revenait expriment des sentiments, un certain réalisme répètent qu’il leur faut déguerpir ... si souvent va jusqu’au déchaînement et la cascade élégante moins cher à monter qu’un grand opéra (ce qui annoncent une autre époque et un style que l’échelle de la fuite leur échappe. (Ils sont de notes coloratura. Dans ses opéras sérieux, les dernier exigeait un nombre d’artistes plus direct. Le genre lui-même commença à les précurseurs des policiers de l’opérette The deux peuvent être arbitraires. Dans Il barbiere, impressionnant que le propriétaire-impresario passer de mode; après la chute de Napoléon, Pirates of Penzance, qui, en chœur, chantent le crescendo le plus frappant est, pour une fois, ne pouvait engager, il écrivait: “un pauvre les régimes royalistes timorés au pouvoir, et les longuement “En Catimini”.) Ces personnages parfaitement adapté à ce qui se chante – la homme comme moi en arrive à pleurer des nouvelles classes moyennes, très respectables, se servent du théâtre pour railler leurs propres calomnie se répand graduellement, enfle et larmes de sang”). Finalement, la saison s’ouvrit ne pouvaient guère l’apprécier. Seul le Barbiere personnalités théâtrales. menace (le fameux grand air de Basilio). Pour

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les oreilles éduquées, comme celles du public de rôle et transformèrent la leçon en un récital que Rosine a longuement chanté sa docilité, Afin de lui être présenté, il réussit à gagner la création, le crescendo – avec ses modulations truffé d’airs incroyables, y compris elle détruit l’impression d’humilité qu’elle a l’aide de Figaro, le barbier, qui se fait gloire de soudaines et son apogée en coup de canon – d’extravagantes variations sur de vieux airs créée par un seul petit “mais” bien servi. gérer les intrigues amoureuses de la ville. En semble dire: “Vous voyez? Après tout je peux populaires. Le rôle de Rosine fut conçu pour Certes, avec une distribution entièrement dépit de l’attention de son tuteur, Rosine très bien me faire “dramatique” avec ce que j’ai une mezzo, comme Della Jones, “à la voix italienne (que l’on n’entend pas souvent sur trouve le moyen de faire tomber une lettre de de meilleur!”, autre moyen subtil de narguer italienne naturelle” précisait Rossini - et la des disques destinés à une clientèle son balcon dans laquelle elle lui demande son l’opéra. scène de la leçon est beaucoup mieux, telle que internationale), qui fait ressortir de son mieux nom et lui déclare la réciprocitée de ses Quant au coloratura, Rossini s’en sert dans le compositeur l’a écrite.) les paroles originales, les mots-clé ne passent sentiments. Le Comte se présente alors à le premier air du ténor pour présenter Les parties optimales de l’opéra sont deux pas inaperçus. Mais ils se remarquent aussi, Rosine sous les traits d’un pauvre étudiant Almaviva sous la forme d’un amant, pressant morceaux pour ensemble, superbement évidement d’une façon différente, quand, répondant au nom de Lindoro. Afin d’être et élégant (l’opéra d’origine, juste avant le ouvragés: le long Finale de l’acte I et le comme c’est le cas ici, tous les chanteurs admis en la demeure, Figaro suggère au grand final tous personnages en scène, offrait quintette dans lequel quatre des personnages parlent la même langue, même si cette langue Comte de se faire passer pour un soldat, un passage complexe au ténor, pour que principaux veulent convaincre Don Basilio, est celle d’un pays dont la température ivre, demandant à être logé chez le García puisse faire étalage de sa virtuosité interloqué, qu’il doit retourner au lit. A travers matinale, juste avant le lever du jour, Dr Bartolo. vocale. Mais il paralysait l’action. Aussi le les sections changeantes, toutes les parties encourage rarement les sérénades. compositeur l’utilisa-t-il dans un autre opéra, restent liées entre elles par une petite phrase A l’intérieur de la demeure La Cenerentola, en le confiant à la mezzo; le musicale guillerette qui revient quand il le © 1995 John Rosselli Dr Bartolo a eu vent de rumeurs au sujet de rideau tombe juste après son coup d’éclat). faut, et par un accompagnement impétueux et Traduction: Paulette Hutchinson l’intérêt d’Almaviva pour Rosine et décide de Ailleurs, le coloratura sert à dessiner finement ferme. La vue et le son d’êtres humains qui se l’épouser sur le champ. Le maître de chant de le portrait de Rosine. Son (premier) fameux comportent comme des machines a toujours Le Barbier de Séville Rosine, un prêtre sans scruples du nom de grand air témoigne de son assurance, de sa provoqué le rire au théâtre. La section Le Comte Almaviva, un homme issu de la Basilio, est le confident de Bartolo. Almaviva, maîtrise de la situation, de son talent pour fougueuse qui met fin à l’acte I, a tout l’air, noblesse espagnole, est amoureux de Rosine, la déguisé en soldat ivre, arrive chez le docteur l’ironie. Ce n’est pas une héroïne romantique selon une expression du temps de Rossini, pupille du Dr Bartolo, un vieux médecin qui a afin d’y prendre ses quartiers. Rosine est ravie qui se meurt d’amour. Eclatante et sardonique “d’une folie organisée et totale”. A cet endroit, lui-même l’intention d’épouser Rosine. lorsqu’elle reconnaît son admirateur. Le dans son duo avec Figaro; charmante et (quelques fois aussi ailleurs), Rossini laisse la désagrément qu’éprouve le docteur devant le joyeuse vers la fin de la scène de la leçon musique prendre le dessus sur les mots. Acte I comportement du “soldat” déclenche une telle (quand Bartolo s’est endormi), c’est une jeune Pourtant les mots disent quelque chose; par Dans la rue, devant la maison du Dr Bartolo querelle que les voisins décident de faire appel femme qui a bien la tête sur les épaules. (Au exemple “jaune”, quand tout le monde répète Le Comte, aidé par une troupe de musiciens, à la milice. Le Comte échappe à l’arrestation, 19ème siècle les sopranos s’approprièrent le à Basilio qu’il a le teint “jaune”. Et une fois chante la sérénade sous les fenêtres de Rosine. au grand courroux de Bartolo.

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Acte II par la fenêtre. Rosine repousse “Lindoro” succès avec le Royal Opera à Covent Garden, et le Welsh National Opera, se produisant sur Dans la demeure de Bartolo, plus tard même jour jusqu’au moment où elle apprend qu’il est le chantant entre autres Almaviva, le rôle-titre de de nombreuses scènes lyriques internationales, Le Comte s’affuble d’un nouveau déguisement Comte Almaviva lui-même. Elle tombe dans Mitridate, re di Ponto de Mozart, Ferrando dans comme l’Opéra de San Diego, le New Israeli et pénètre dans la demeure sous les traits de ses bras. Cependant, ils ne peuvent plus Così fan tutte, Lindoro dans L’italiana in Algeri Opera, l’Opéra national de Paris-Bastille, Don Alonso, un professeur de musique. Il s’échapper, car Bartolo a retiré l’échelle de et Osiride dans Mosè in Egitto. Il a également l’Opéra-Comique, le Gran teatre del Liceu à déclare qu’il vient donner à Rosine une leçon dessours la fenêtre. Basilio, arrive avec un triomphé à San Francisco, Chicago, Los Barcelone ainsi qu’à Lyon, Nantes, Montpellier, de chant à la place de Don Basilio qui est notaire censé marier Rosine à son tuteur, mais Angeles, Salzbourg, Amsterdam, Zurich, Copenhague, Amsterdam, Vancouver et soudain tombé malade. Sous couvert de on parvient facilement à le corrompre et à Lausanne, Genève, Catania, Florence, Naples, Ottawa. Il a tenu entre autres les rôles-titres de donner la leçon à Rosine, le Comte annonce à assister au mariage de Rosine avec le Comte. Bologne, Lyon et Paris. Wozzeck, Falstaff, King Priam, Gianni Schicchi Rosine qu’il l’enlèvera de la maison paternelle à Bartolo arrive trop tard et il est obligé de Bruce Ford a fait de nombreux disques pour et Don Pasquale, chantant aussi Dulcamara minuit. Figaro, qui vient d’arriver pour raser reconaître l’évidence: il a perdu Rosine. Opera Rara, comme Il crociato in Egitto de (L’elisir d’amore), Don Alfonso (Così fan tutte), Bartolo, réussit à se faire donner les clefs du Meyerbeer, Medea in Corinto de Mayr, Figaro (Le nozze di Figaro), Papageno, le roi balcon. A la consternation de tous, Basilio Durant ces dix dernières années, Bruce Ford Rosmonda d’Inghilterra de Donizetti, Ricciardo Dodon (Le Coq d’or), Leandro (L’Amour des apparaît mais on lui presse alors une bourse s’est forgé une excellente réputation de ténor bel e Zoraide de Rossini, Maria, regina trois oranges), Dikoj (Katia Kabanova), Dr bien pleine dans la main afin qu’il continue à canto très complet, spécialiste des rôles de d’Inghilterra de Pacini, Maria de Rudenz de Kolenaty (L’Affaire Makropoulos), Chichkov prétendre qu’il est malade. Bartolo, dont les Mozart et Rossini. Depuis ses débuts au Festival Donizetti, Otello de Rossini et deux disques de (Souvenirs de la maison des morts), Frank (Die soupçons se sont évéillés, surprend les Rossini de Pesaro en 1990, lorsqu’il accepta récitals (Rossini – Three Tenors et Romantic Fledermaus), le baron (La Vie parisienne), le amoureux au cours d’une conversation moins de deux semaines avant la représentation Heroes). Pour Chandos, en collaboration avec baron Trombonok (Il viaggio a Reims), Varlaam compromettante. de jouer le rôle d’Agorante dans Ricciardo e la Peter Moores Foundation, il a enregistré en (Boris Godounov) et Faninal (Der Lorsque le Comte et Figaro s’en sont allés, Zoraide, il se produit régulièrement à Pesaro soliste un récital d’airs d’opéra. Rosenkavalier). Pour Chandos en collaboration Bartolo confronte Rosine avec la lettre qu’elle a (chantant dans Otello, Il barbiere di Siviglia et avec la Peter Moores Foundation, il a enregistré adressée à Lindoro, et il la prend au dépourvu Zelmira de Rossini) ainsi que sur les plus Andrew Shore est considéré comme le L’elisir d’amore, Don Pasquale, La bohème et des lorsqu’il lui déclare que Lindoro n’est autre que grandes scènes lyriques et dans les plus grands principal baryton bouffe en Grande-Bretagne extraits de Der Rosenkavalier, de même que l’agent d’Almaviva qui ne veut l’épouser que festivals en Europe. Au Teatro alla Scala à aujourd’hui, remarquable pour ses talents de cette version du Barbiere di Siviglia et une pour son argent. Elle accepte tout de suite Milan, il a été entre autres Uberto (La donna del chanteur et d’acteur. Il a travaillé avec la version primée de Tosca. d’être mariée à Bartolo et lui dévoile les plans lago sous la direction de Riccardo Muti), Paolo plupart des grandes compagnies britanniques, d’enlèvement. Erisso (Maometto II) et Belmonte (Die comme l’English National Opera, le Royal Née à Neath, Della Jones fit ses études au Figaro et le Comte arrivent au rendez-vous à Entführung aus dem Serail sous la direction de Opera à Covent Garden, Opera North, le Royal College of Music à Londres, remportant l’heure convenue, et pénètrent dans la maison Wolfgang Sawallisch). Il a connu une kyrielle de Glyndebourne Festival Opera, Scottish Opera de nombreux prix dont la Kathleen Ferrier

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Memorial Scholarship. Elle s’est produite avec London Opera Centre. Premier baryton de collaboration avec la Peter Moores Midsummer Night’s Dream), Banquo les plus grandes troupes lyriques de Grande- l’English National Opera durant plusieurs Foundation). (Macbeth), Cadmus/Somnus (Semele), Gessler Bretagne, dans l’Europe entière ainsi qu’aux saisons, il a chanté avec les plus grandes (Guillaume Tell), Mustafa (L’italiana in Algeri) Etats-Unis, au Canada, en Russie et au Japon. troupes lyriques de Grande-Bretagne. Sa Né à Canterbury, Peter Rose étudia la et Walter (Luisa Miller). Parmi ses nombreux A son répertoire figurent les rôles-titres carrière internationale l’a conduit à Bayreuth, musique à l’Université d’East Anglia puis fut enregistrements, notons pour Chandos, en d’Ariodante, La Cenerentola et Carmen, ainsi Paris (Opéra national de Paris-Bastille), l’élève d’Ellis Keeler à la Guildhall School of collaboration avec la Peter Moores que les rôles de Rosina, Herodias (Salome), Amsterdam, Chicago, Milan (Teatro alla Music and Drama à Londres. Il fit ses débuts Foundation, la version primée de Tosca et cette Baba le Turc (The Rake’s Progress), Marcellina, Scala), Munich (Opéra d’état de Bavière), sur la scène lyrique dans le rôle du version du Barbiere di Siviglia. Adalgisa, Didon (Les Troyens et Dido and Berlin, Vienne, Bruxelles et New York (The Commandeur avec le Glyndebourne Festival Aeneas), Donna Elvira, Brangäne, Hermia (A Metropolitan Opera). Il a récemment tenu le Opera à Hong Kong en 1986 et fut première Depuis ses études au Trinity College of Music Midsummer Night’s Dream), Junon (Semele) et rôle de Beckmesser (Die Meistersinger von basse du Welsh National Opera jusqu’en 1989. à Londres, Jennifer Rhys-Davies a tenu avec de l’hôtesse (Boris Godounov). Della Jones Nürnberg) à l’Opéra d’état de Vienne qui l’a Il a chanté avec les principaux chefs succès plusieurs rôles majeurs comme ceux de travaille régulièrement pour la radio et la invité à monter à nouveau sur sa scène, cette d’orchestre dans le monde et les plus grandes Donna Anna, Donna Elvira, Konstanze, la télévision; son abondante discographie fois-ci sous les traits de Balstrode dans Peter troupes lyriques britanniques comme The Reine de la Nuit, Pamina, Miss Jessel (The comprend entre autres Alcina, L’incoronazione Grimes, un rôle qu’il tient aussi dans Royal Opera à Covent Garden, l’English Turn of the Screw), Lucia, Semiramide et Lady di Poppea, La clemenza di Tito et Die Kathrin l’enregistrement de l’opéra par Chandos qui a National Opera et Scottish Opera. Sa carrière Macbeth. Au Royal Opera à Covent Garden, de Korngold. Elle a enregistré Gabriella di remporté un Grammy Award. Il a chanté dans internationale l’a conduit au Metropolitan elle a été Berta (Il barbiere di Siviglia), Amaltea Vergy (Donizetti), Maria Padilla (Donizetti), Il Outis de Luciano Berio à La Scala de Milan et Opera à New York, à l’Opéra-Comique à (Mosè in Egitto), Clorinda (La Cenerentola), crociato in Egitto (Meyerbeer), Ricciardo e au Châtelet théâtre musical à Paris, tenant le Paris, à l’Opéra d’état allemand à Berlin, à Marianne (Der Rosenkavalier), Anna (Nabucco) Zoraide (Rossini) ainsi que Dinorah rôle de Mr. Redburn dans une mise en scène l’Opéra d’état de Hambourg, à l’Opéra d’état et Sieglinde, chantant aussi la Soprano (Meyerbeer) pour Opera Rara et parmi ses partielle de la version en deux actes de Billy de Vienne, au Lyric Opera de Chicago et au italienne (Capriccio) au Festival de nombreux enregistrements pour Chandos Budd de Britten au Barbican Centre à New Israeli Opera à Tel Aviv de même qu’à Glyndebourne, Olympia, Antonia et Giulietta notons Sancta Susanna (Hindemith), The Bear Londres, une version que Chandos a par la San Francisco, Amsterdam, Cologne, Rome et (Les Contes d’Hoffmann) au Grand Théâtre de (Walton) et, pour Chandos en collaboration suite enregistrée et qui sortira au printemps Seattle. Il a aussi participé aux plus grands Limoges et Elisabetta (Maria Stuarda) au avec la Peter Moores Foundation, La traviata 2000. Pour Chandos, Alan Opie a chanté dans festivals dans le monde entier, à Orange, Aix- Théâtre de Bâle. Parmi ses enregistrements, et Giulio Cesare de Haendel. The Rape of Lucretia (Britten), Martin’s Lie en-Provence, Istanbul, Bregenz et à Florence notons Orazi e Curiazi de Mercadante pour (Menotti), Troilus and Cressida (Walton) ainsi (Maggio musicale). Il a été entre autres Opera Rara et, pour Chandos en collaboration Né en Cornouailles, Alan Opie fit ses études à que dans Maria Stuarda, Pagliacci et La Ramfis, Fasolt, Hunding, Pimène, Osmin, le avec la Peter Moores Foundation, des extraits la Guildhall School of Music de Londres et au bohème (trois enregistrements produits en roi Marke, le baron Ochs, Rocco, Bottom (A de Der Rosenkavalier.

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Le Chœur de l’English National Opera est Salué autant par la critique que par le public, notons Maria Stuarda, Giulio Cesare, Rigoletto l’American Symphony Orchestra et à l’Opéra l’un des plus beaux atouts de cette compagnie L’Orchestre de English National Opera, avec (dans la mise en scène de Jonathan Miller) et de Cincinnati. Il commença à collaborer avec lyrique. Remarquable autant pour la puissance Barry Griffiths comme premier violon, s’est vu La traviata. l’Orkest van Hetoosten à Opera Forum à de son chant que l’intensité de son jeu, cet décerner ces dernières années plusieurs prix Enschede aux Pays-Bas en 1988, assumant les ensemble a enthousiasmé le public dans prestigieux comme le Prix de la Royal Né à Legnago près de Vérone, Gabriele Bellini fonctions de chef principal de l’Orchestre de d’innombrables productions de l’English Philharmonic Society et un Olivier Award pour fit ses études au Conservatorio Benedetto 1992 à 1997; durant cette période, il dirigea National Opera. Ces soixante-huit choristes, sa contribution exceptionnelle au monde Marcello à Venise et au Conservatorio entre autres Macbeth, Stiffelio, Rigoletto, Il riches d’une vaste expérience et d’une lyrique. L’Orchestre est au cœur de la vie Giuseppe Verdi à Milan dont il sortit diplômé trovatore, Falstaff, Madama Butterfly, Tosca et multitude de talents, marquent de leur sceau artistique de la Compagnie et outre les en cor, en composition et en direction Wozzeck. En 1998 il inaugura le Festival toutes les représentations auxquelles ils représentations lyriques au Coliseum à Londres, d’orchestre. Il poursuivit ses études de Donizetti à Bergame avec L’elisir d’amore, y participent. Le Chœur a triomphé entre autres il se produit également en concert. De plus, de direction d’orchestre avec Franco Ferrara, dirigeant par la suite La bohème. Récemment, dans Guerre et Paix de Prokofiev, Lady Macbeth nombreux membres de l’Orchestre participent Hermann Scherchen, Sergiu Celibidache et Gabriele Bellini a dirigé Norma à Groeningen, de Mtsensk de Chostakovitch, Billy Budd et au Projet Bayliss mis sur pied par la branche de Hans Swarowsky. Sa carrière l’a conduit dans La rondine au Teatro del Giglio à Lucca, Linda Peter Grimes de Britten, Boris Godounov de la Compagnie chargée de l’éducation ainsi toute l’Europe et aux Etats-Unis et il a di Chamounix à Bologne et I puritani en Moussorgsky, Carmen de Bizet et Otello de qu’au développement de nouveaux opéra avec collaboré plusieurs saisons avec Claudio Espagne. Il a également dirigé Eine Nacht in Verdi. Leur enregistrement de ce dernier opéra, l’English National Opera Studio, comme The Abbado au Teatro alla Scala à Milan. Il a Venedig au Komische Oper à Berlin et s’est dans une mise en scène de Jonathan Miller et Silver Tassie de Mark Anthony Turnage dont la travaillé comme directeur artistique et produit à l’Opéra de Norvège à Oslo, au Royal sous la direction de Mark Elder, sortira création mondiale est prévue pour février 2000. directeur musical du Grand Opera du Opera à Covent Garden ainsi qu’à Göteborg et prochainement chez Chandos grâce au L’Orchestre a participé à de nombreux Connecticut, dirigeant aussi à l’occasion Leipzig. financement de la Peter Moores Foundation, enregistrements, comme le fameux cycle de tout comme leur version de Werther avec Dame l’Anneau dirigé par Sir Reginald Goodall qui Janet Baker sous la baguette de Sir Charles doit prochainement paraître chez Chandos Mackerras et leur enregistrement combien grâce au financement de la Peter Moores célèbre du cycle de l’Anneau dirigé par Sir Foundation, tout comme son enregistrement de Reginald Goodall. Ils ont aussi enregistré pour Werther avec Dame Janet Baker sous la baguette Chandos, en collaboration avec la Peter Moores de Sir Charles Mackerras et celui d’Otello de Foundation, Maria Stuarda, Giulio Cesare, Verdi sous celle de Mark Elder. Parmi ses autres Rigoletto (dans la mise en scène de Jonathan enregistrements pour Chandos, en Miller) et La traviata. collaboration avec la Peter Moores Foundation,

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d’espedienti e che non ha rispetto per coloro sensazioni, specialmente di quelle suscitate Gioachino Rossini: Il barbiere di Siviglia che gli sono socialmente superiori (fino ad un dalla musica militare. Rossini gli fornì proprio certo punto finché durava la loro superiorità) quello che voleva: sprizzo, guizzo, razzo. Rossini compose 40 opere – tutte prima del frequente dell’altra perché meglio conosciuta. ma che è sempre pronto ad avere la meglio su La storia che la prima del suo Barbiere non suo trentottesimo compleanno, allorché aveva Il barbiere era già famoso quando l’oberato di loro o ad approfittarsene. Nell’opera, dove andò a segno perché parte del pubblico era ancora 38 anni di vita – eppure ci fu un Rossini e il suo librettista Cesare Sterbini lo le parole devono essere molto più limitate che insorta a favore di Paisiello è quasi certamente tempo in cui fu ricordato come l’autore di una scelsero nel gelido inverno romano del 1816. nella commedia, il suo carattere risulta un po’ una favola. Era uso comune che diversi sola opera: Il barbiere di Siviglia. La commedia scritta da Beaumarchais nel più grossolano; il suo vigore plebeo s’impone compositori scrivessero opere sullo stesso Ciò fu particolarmente vero mentre Wagner 1775 era ancora salda sulla scena, come lo è nella sua famosa aria introduttiva così come soggetto, e persino con lo stesso libretto. regnava supremo, fra il 1880 e il 1920 circa. tuttora in Francia, aiutata dal trionfo della nel suo schietto interesse al denaro. Rossini e Sterbini usarono un titolo nuovo per Le molte opere serie di Rossini erano svanite, successiva Le Mariage de Figaro (la terza Con la commedia ben affermata, il regnante la loro versione (originariamente fu chiamata eccetto un occasionale Guillaume Tell o Mosè commedia della trilogia, La Mère coupable (La compositore del tardo Settecento, Giovanni Almaviva – con buona causa, giacché la stella in Egitto, allestite come omaggio ad un antico madre colpevole), è un melodramma uggioso e Paisiello, ne fece un’opera comica. Questo era il tenore, Manuel García), e smorzarono la monumento. Persino opere comiche, come sentenzioso: Beaumarchais era stato lasciato Barbiere progredì con successo attraverso famosa scena degli starnuti e sbadigli: anche L’italiana in Algeri o La Cenerentola, di gran indietro dalla Rivoluzione Francese, con le sue l’Europa dopo la sua prima esecuzione a questa era una normale precauzione. successo al loro tempo e di nuovo ai giorni esigenze di gravità). Il barbiere originale – ben S.Pietroburgo nel 1782. Oggidì rare esecuzioni Stamparono inoltre una nota in cui nostri, erano in eclisse. Ma la marcia del tornita commedia d’intrighi – era basato sulle in Festivals la rivelano un’opera dilettevole e affermavano di non avere inteso essere scortesi Barbiere continuava. Anno dopo anno vi convenzioni dell’opera comica, riportandosi melodiosa, con una scena divertente di nei riguardi del vecchio compositore (che morì apparvero alcuni dei migliori cantanti, e alcuni alla vecchia commedia italiana delle maschere, starnuti e sbadigli per i servitori di Bartolo, ma poco più di tre mesi dopo). Quello che sembra dei peggiori; negli anni 40 di questo secolo con la più vetusta delle trame, il vecchio tutore piuttosto blanda e lenta per il gusto moderno. sia successo è che dei compositori rivali più venne persino trasformato in un musical per le il cui piano di sposare l’avvenente pupilla è Nel 1816, quando Rossini si mise al lavoro, giovani sarebbero stati gelosi e che i sostenitori scene di Broadway, con il titolo di Once Over mandato a monte dall’amore giovane e dai Paisiello era già passato di moda, in parte di un teatro concorrente si sarebbero opposti Lightly, con un Figaro russo; un esperimento servitori scaltri; in effetti, Beaumarchais perché la musica passava di moda nel giro di allo sconfinamento del Teatro Argentina nel che finì per essere una volta di troppo. originariamente l’aveva scritto con dei una trentina d’anni (un repertorio di opere che campo dell’opera comica. La principale ragione Cosa c’è in questa opera che la mantiene “numeri” da mettere in musica. erano riprese più volte stava appena dei fischi della prima sera, comunque, fu che la sempre verde? Il successo, di quando in Ciò che rese speciale la commedia fu il formandosi), ma in particolare perché gli anni consueta fretta di una stagione lirica italiana fu, quando, si autoalimenta: fra due commedie od carattere di Figaro, quel tipo di uomo comune delle guerre rivoluzionarie e napoleoniche questa volta, un po’ troppo affrettata. opere che funzionano egualmente bene sulla non comune, destinato ad avere un ruolo avevano introdotto un pubblico nuovo: più L’Argentina, il principale teatro romano, di scena una può essere rappresentata più di cospicuo nella rivoluzione: il factotum che vive borghese, più impaziente, più avido di forti solito in questa stagione avrebbe allestito

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un’opera seria. La sua ragione di chiedere a l’anno successivo e le opere comiche di quando dovrebbero uscirsene in punta di preferiti – il crescendo, che incalza verso uno Rossini di scrivere il Barbiere, piuttosto che un Donizetti che più si ricordano (L’elisir d’amore piedi, e altrettanto fa, alla fine dell’opera, il scoppio fragoroso, e l’elegante cascata di note qualsiasi dramma classico, era finanziaria: la e il Don Pasquale) hanno un tocco di trio in cui Figaro e gli amanti continuano a della coloratura. Nelle sue opere serie ambedue caduta di Napoleone e il ritorno del Papa sentimento o di realismo che denota un’epoca proclamare la stessa urgenza finché non vien possono sembrare arbitrari. Nel Barbiere l’uso avevano fatto perdere al teatro la sovvenzione; più ammorbidita. In ogni caso l’opera comica loro meno la scala a pioli. Qui sono gli straordinario del crescendo è, una volta tanto, la crisi economica che imperversava in Europa stava per passare di moda: non si adattava ai antenati del coro dei poliziotti ne The Pirates interamente appropriato all’argomento di cui aveva diminuito l’affluenza del pubblico e regimi monarchici, timorosi e rigorosi, che of Penzance, “With catlike tread” (A passi si canta: il graduale dilagare della calunnia l’opera comica era relativamente a buon erano stati riportati in auge dopo la caduta di felini). I personaggi usano il teatro per beffarsi nella famosa aria di Basilio. Alle orecchie mercato. Pertanto, l’impresario-proprietario era Napoleone, né al ceto medio divenuto di dei loro stessi caratteri teatrali. assuefatte – quali erano quelle del pubblico del riuscito a mettere insieme una compagnia solo recente rispettabile. Ma il Barbiere distilla All’inizio di quel trio finale, Figaro deride le tempo – il crescendo, con improvvise con sforzi frenetici (“c’è quanto basta per far l’indole della vecchia opera comica, un’unione canore smancerie di Almaviva mentre il tenore modulazioni che culminano nel “colpo di sputare sangue ad un povero diavolo come dell’assurdo con lo spietato. inneggia all’amore di Rosina e suo quando cannone”, sembra dire, “Vedete? Io, me”, scrisse) e la stagione aprì con più di due “Gioca con tutto: con lo spirito, la filosofia, invece dovrebbero darsi alla fuga. Questa è dopotutto, son capace di essere debitamente settimane di ritardo. Rossini ebbe un po’ meno il dramma, con gli attori e col pubblico, con il soltanto l’ultima di molte parodie musicali. La drammatico con i migliori”; un’altra sottile di quattro settimane fra ricevere la prima parte teatro interno”. Così scrisse Bernard Shaw di canzoncina di Bartolo nella scena della lezione caricatura della forma operistica. del libretto (il 25 gennaio) e sedersi a suonare Oscar Wilde. Potrebbe essere stato scritto di prende in giro la musica che avrebbe sentito in Per quanto riguarda la coloratura, Rossini la il continuo, come era d’uso, la prima sera (il Rossini. (“Giocare con la filosofia” potrebbe gioventù (ante-Paisiello) e la sua grande aria, usa nell’aria introduttiva del tenore per 20 febbraio). Per un compositore ciò non era sembrare al di là dei suoi mezzi – fin quando con le sue elaborate ripetizioni, usa la presentare Almaviva come un amante sollecito fuori dell’ordinario, ma la compagnia era non si ricorda che Hegel e Schopenhauer, pedanteria musicale per burlarsi del vecchio e ed elegante (in origine l’opera finiva, proprio probabilmente esausta dall’iniziale furia di far ambedue filosofi austeri, ebbero un’alta arido avvocato. Gli eterni annunci di pace e prima dello schieramento finale, con decollare la stagione (con L’italiana in Algeri) e opinione delle sue opere.) Dal principio alla gioia del presunto abate al principio della un’elaborata aria di bravura per García, ma ciò poi mettersi a studiare ed a provare il Barbiere, fine Rossini gioca con le convenzioni scena della lezione scimmiottano il modo in ostacolava l’azione; più tardi, il compositore la dando allo stesso tempo cinque recite alla dell’opera – così come già aveva fatto nel cui le stesse parole venivano messe in musica diede al mezzosoprano protagonista a settimane. L’inciampo della prima sera si Turco in Italia, dove uno dei personaggi va in molti pezzi liturgici. L’iniziale elogio conclusione della Cenerentola). Altrove la trasformò in successo nelle repliche, dopo di scrivendo l’opera mentre procede l’azione. dell’oro di Figaro, che da’ il via al suo duetto coloratura serve a delineare nettamente la che l’opera non conobbe più ostacoli. Nella scena introduttiva del Barbiere, i con Almaviva nella prima scena, imita il tono personalità di Rosina. La sua famosa prima Oltre ad essere il meglio della pura opera ringraziamenti dei musicisti che fanno la solenne dell’opera seria. aria descrive il suo carattere deciso, il suo comica nella tradizione italiana, fu anche quasi serenata prendono in giro l’usanza dei cori La parodia è ancora più tagliente quando controllo della situazione e la sua capacità l’ultima. La Cenerentola dello stesso Rossini operistici di far grande e ripetuto fracasso Rossini beffeggia i suoi stessi procedimenti d’ironico commento. Questa non è l’eroina

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romantica di un amore infelice: scintillante e comando e tiene poco conto delle parole. vanta di esser capace di maneggiare gli affari musica. Dice di esser venuto a dare una lezione sardonica nel suo duetto con Figaro, tutta Eppure le parole contano, come quando tutti della città. Eludendo la vigilanza del tutore, di canto a Rosina al posto di Don Basilio che si fascino e voluttà nella parte successiva della dicono a Basilio che è “giallo”, o come quando Rosina riesce a far cadere dal balcone una lettera è improvvisamente ammalato. Sotto il pretesto scena della lezione (mentre Bartolo dorme), Rosina smentisce la sua “docilità” con la nella quale chiede ad Almaviva il suo nome e della lezione il Conte dice a Rosina che fuggirà Rosina è – come ben possiamo sentire – una paroletta “ma”. Con una compagnia reciproca il suo amore. Il Conte si presenta con lei a mezzanotte. Figaro, che è venuto a ragazza in gamba. (Nell’Ottocento i soprani si interamente italiana, che trae il massimo allora a Rosina come uno studente povero fare la barba a Bartolo, riesce a trafugare le appropriarono la parte e trasformarono la vantaggio dal testo originale (il che non si chiamato Lindoro. Figaro suggerisce che per chiavi del balcone. Con loro costernazione scene della lezione in un concerto infarcito di trova spesso in dischi intesi per un pubblico potersi introdurre nella casa il Conte dovrebbe appare Basilio, che però, quando gli viene tutto un po’, da “Home, Sweet Home” a internazionale) certe cose si notano. Così come pretendere di essere un soldato acquartierato passato un sacchetto di denaro, convalide la stravaganti variazioni. La parte appartiene a un si notano, in una maniera diversa, quando – presso il Dott. Bartolo, ed ubriaco. pretesa di essere malato. Bartolo, insospattito, mezzosoprano come Della Jones – la naturale come accade qui – tutti i cantanti hanno una sorprende gli amanti in compromettente voce femminile italiana, secondo la definizione lingua in comune, e sia pure la lingua di un Dentro la casa conversazione. di Rossini – e la scena della lezione funziona paese dove la temperatura, poco prima Il Dott. Bartolo ha sentito correr voci Quando il Conte e Figaro sono partiti meglio se lasciata proprio com’è.) dell’alba, raramente incoraggia le serenate. sull’interesse di Almaviva a Rosina e decide di Bartolo confronta Rosina con la lettera che essa Il fulcro dell’opera sta nei due concertati, sposarla immediatamente. Il maestro di canto di ha indirizzato a Lindoro e la coglie di sorpresa composti con suprema abilità – il lungo © 1995 John Rosselli Rosina, un abate di pochi scrupoli a nome Don quando le dice che Lindoro è l’agente di Finale dell’Atto I e il quintetto in cui gli altri Traduzione: Marcella Barzetti Basilio, è confidente di Bartolo. Almaviva, Almaviva che vuole sporsarla solo per la sua quattro personaggi esortano lo sconcertato travestito da soldato, arriva a prendere dote. Rosina acconsente a sposare Bartolo Don Basilio a tornarsene a letto. Ognuno è La trama “quartiere” presso il Dott. Bartolo. Rosina è immediatamente e gli rivela la proposta fuga. collegato attraverso mutabili sezioni da una Il Conte Almaviva, nobile spagnolo, è incantata quando riconosce il suo ammiratore. Figaro e il Conte ritornano all’ora piccola frase musicale, vivace e ricorrente, e da innamorato di Rosina, pupilla di Don Bartolo, L’indignazione del Dott. Bartolo al prestabilita e si introducono nella casa dalla un accompagnamento saldo e inebriante. La un vecchio dottore, che intende sposarla lui comportamento del “soldato” causa un tale finestra. Rosina respinge “Lindoro” ma poi vista e il suono di esseri umani che si stesso. fracasso che i vicini chiamano le guardie. Il scopre che lui stesso è Almaviva. Gli cade fra le comportano come macchine è una potente Conte sfugge all’arresto con gran furia di Bartolo. braccia. Non riescono però a fuggire perché causa d’ilarità in teatro. Con l’ultima Atto I Bartolo ha sottratto la scala appoggiata sotto la precipitata sezione del Finale dell’Atto I arriva La strada davanti alla casa del Dott. Bartolo Atto II finestra. Basilio, giungendo con un notaio che quella che al tempo veniva chiamata Il Conte, assistito di un gruppo di musicanti, fa Nella casa di Bartolo, più tardi lo stesso giorno dovrebbe sposare Rosina al suo tutore, si lascia “l’organizzata totale follia rossiniana”. Qui e la serenata a Rosina. Per farsi introdurre a lei Il Conte assume un altro travestimento ed facilmente corrompere a far da testimonio altrove Rossini lascia che la musica prenda il sollecita l’aiuto di Figaro, il barbiere, che si entra nella casa come Don Alonso, maestro di invece alle nozze di Rosina con il Conte.

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Bartolo arriva troppo tardi ed è costretto a Bruce Ford ha inciso numerose registrazioni (Le nozze di Figaro), Papageno, Re Dodon (Le trasmette regolarmente alla radio e alla riconoscere che ha perduto Rosina. per Opera Rara, tra cui Il crociato in Egitto di Coq d’or), Leandro (L’amore delle tre televisione e le sue innumerevoli registrazioni Meyerbeer, Medea in Corinto di Mayr, melarance), Dikoy (Kát’a Kabanová), Dr includono Alcina, L’incoronazione di Poppea, Negli ultimi dieci anni Bruce Ford si è Rosmonda d’Inghilterra di Donizetti, Ricciardo e Kolenaty (Il caso Makropulos), Shishkov (Da La clemenza di Tito, e Die Kathrin di affermato come tenore del bel canto a tutto Zoraide di Rossini, Maria, regina d’Inghilterra una casa di morti), Frank (Die Fledermaus), il Korngold. Ha registrato Gabriella di Vergy tondo, specializzandosi nei ruoli di Mozart e di Pacini, Maria de Rudenz di Donizetti, Barone (La Vie parisienne), il Barone (Donizetti), Maria Padilla (Donizetti), Il di Rossini. Dopo aver debuttato al Rossini l’Otello di Rossini e due dischi recital (Rossini Trombonok (Il viaggio a Reims), Varlaam (Boris crociato in Egitto (Meyerbeer), Ricciardo e Festival di Pesaro nel 1990, interpretando il – Three Tenors e Romantic Heroes). Per Godunov) e Faninal (Der Rosenkavalier). Le sue Zoraide (Rossini) e Dinorah (Meyerbeer) per ruolo di Agorante in Ricciardo e Zoraide a Chandos/Peter Moores Foundation ha registrazioni per Chandos/Peter Moores Opera Rara, e tra le numerose registrazioni su meno di due settimane dalla notizia, è stato registrato un recital da solista di arie d’opera. Foundation comprendono L’elisir d’amore, Don Chandos troviamo Sancta Susanna regolare ospite a Pesaro (cantando nell’Otello, Pasquale, La bohème e brani scelti da Der (Hindemith), The Bear (Walton) nonché, per Il barbiere di Siviglia e Zelmira di Rossini), Andrew Shore è riconosciuto come il primo Rosenkavalier oltre questo Barbiere di Siviglia e Chandos/Peter Moores Foundation, La nonché nella maggior parte dei principali baritono buffo della Gran Bretagna e come Tosca, vincitrice di un premio. traviata e Giulio Cesare. teatri lirici e festival d’Europa. Le sue sorprendente cantante/attore. Ha lavorato per apparizioni al Teatro alla Scala di Milano lo tutte le principali compagnie britanniche, Della Jones è nata a Neath e ha studiato al Nato in Cornovaglia, Alan Opie ha studiato hanno visto nei ruoli di Uberto (La donna del compresa la English National Opera, The Royal College of Music dove ha vinto molti alla Guildhall School of Music e al London lago diretto da Riccardo Muti), Paolo Erisso Royal Opera, Covent Garden, Opera North, premi, tra cui la borsa di studio alla memoria Opera Centre. È stato Baritono Principale con (Maometto II) e Belmonte (Die Entführung aus Glyndbourne Festival Opera, Scottish Opera e di Kathleen Ferrier. È apparsa con tutte le la English National Opera per diverse stagioni dem Serail diretto da Wolfgang Sawallisch). Welsh National Opera, oltre ad essere apparso principale compagnie liriche britanniche, in ed ha cantato con tutte le principali Con The Royal Opera, Covent Garden ha all’estero con San Diego Opera, New Israeli tutta Europa, negli Stati Uniti, in Canada, compagnie liriche britanniche. All’estero è goduto di una serie di successi tra cui Opera, Opéra national de Paris-Bastille, Russia e Giappone. Il suo repertorio apparso nei teatri lirici di Bayreuth, Parigi Almaviva, il ruolo del protagonista nel Opéra-Comique, Gran teatre del Liceu a comprende i ruoli da protagonista in (Opéra national de Paris-Bastille), Amsterdam, Mitridate, re di Ponto di Mozart, Ferrando in Barcellona, nonché a Lione, Nantes, Ariodante, La Cenerentola e Carmen, nonché Chicago, Milano (Teatro alla Scala), Monaco Così fan tutte, Lindoro in L’italiana in Algeri e Montpellier, Copenaghen, Amsterdam, quelli di Rosina, Herodias (Salome), Baba il (Opera nazionale della Baviera), Berlino, Osiride in Mosè in Egitto. Acclamate Vancouver e Ottawa. I suoi numerosi impegni Turco (The Rake’s Progress), Marcellina, Vienna, Bruxelles e New York (The apparizioni, tra le altre, a San Francisco, hanno incluso il ruolo da protagonista in Adalgisa, Dido (Les Troyens e Dido and Metropolitan Opera). Recentemente è apparso Chicago, Los Angeles, Salisburgo, Amsterdam, Wozzeck, Falstaff, King Priam, Gianni Schicchi Aeneas), Donna Elvira, Brangäne, Hermione nel ruolo di Beckmesser (Die Meistersinger von Zurigo, Losanna, Ginevra, Catania, Firenze, e Don Pasquale, nonché Dulcamara (L’elisir (A Midsummer Night’s Dream), Juno (Semele) e Nürnberg) all’Opera nazionale di Vienna ed è Napoli, Bologna, Lione e Parigi. d’amore), Don Alfonso (Così fan tutte), Figaro la Locandiera (Boris Godunov). Della Jones stato invitato a ritornare nel ruolo di Balstrode

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in Peter Grimes, ruolo che ha interpretato Opera. All’estero ha cantato alla Metropolitan ha interpretato il ruolo di Berta (Il barbiere di presto per Chandos con il patrocinio della anche nella registrazione dell’opera Chandos Opera, New York, all’Opéra-Comique, Parigi, Siviglia), Amaltea (Mosè in Egitto), Clorinda Peter Moores Foundation, come le loro che ha vinto il Grammy Award. È apparso in Opera nazionale tedesca, Berlino, Opera (La Cenerentola), Marianne (Der registrazioni del Werther con Dame Janet Outis di Luciano Berio alla Scala di Milano, e nazionale di Amburgo, Opera nazionale di Rosenkavalier), Anna (Nabucco) e Sieglinde, e Baker diretti da Sir Charles Mackerras e del al Châtelet théâtre musical di Parigi ed è stato Vienna, Lyric Opera di Chicago e New Israeli ha cantato come Soprano Italiano (Capriccio) famoso “Ciclo del Ring” diretti da Sir Reginald Mr Redburn in interpretazioni parzialmente Opera, Tel Aviv, nonchè a San Francisco, al Glyndebourne Festival, Olympia, Antonia e Goodall. Altre registrazioni Chandos/Peter rappresentate della versione in due atti del Amsterdam, Colonia, Roma e Seattle. È anche Giulietta (Les Contes d’Hoffmann) al Grand Moores Foundation sono Maria Stuarda, Billy Budd di Britten presso il Barbican Centre apparso nei principali festival di tutto il théâtre de Limoges e Elisabetta (Maria Giulio Cesare, Rigoletto (produzione di di Londra, una produzione successivamente mondo, come quelli di Orange, Aix-en- Stuarda) al Teatro di Basilea. Tra le sue Jonathan Miller) e La traviata. registrata da Chandos per essere distribuita Provence, Istanbul, Bregenz e al Maggio registrazioni, per Opera Rara, Orazi e Curiazi nella primavera 2000. Altre apparizioni su musicale di Firenze. Tra i numerosi ruoli da lui di Mercadante e, per Chandos/Peter Moores Acclamata dalla critica e dal pubblico, Chandos includono The Rape of Lucretia interpretati Ramfis, Fasolt, Hunding, Pimen, Foundation, brani scelti da Der Rosenkavalier. L’Orchestra di English National Opera, primo (Britten), Martin’s Lie (Menotti), Troilus and Osmin, Re Marke, Barone Ochs, Rocco, violino Barry Griffiths, ha ricevuto negli Cressida (Walton), nonché Maria Stuarda, Bottom (A Midsummer Night’s Dream), Il Coro di English National Opera è una delle ultimi anni diversi premi prestigiosi, tra cui il Pagliacci e La bohème (tutte in collaborazione Banquo (Macbeth), Cadmus/Somnus (Semele), migliori risorse dell’Opera. In innumerevoli Royal Philharmonic Society Music Award e un con la Peter Moores Foundation). Gessler (Guillaume Tell), Mustafa (L’italiana in produzioni della English National Opera ha Olivier Award for Outstanding Achievement in Algeri) e Walter (Luisa Miller). Le sue entusiasmato le platee con il potere del canto e Opera. L’Orchestra è al centro della vita Nato a Canterbury, Peter Rose ha studiato numerose registrazioni comprendono, per l’intensità della recitazione. Si tratta di artistica dell’Opera e, oltre a esibizioni liriche musica all’Università dell’East Anglia ed ha Chandos/Peter Moores Foundation, la Tosca sessantotto coristi e l’ampia gamma di capacità al Coliseum di Londra è stata anche vista sul studiato con Ellis Keeler alla Guildhall School che si è aggiudicata un premio e questo ed esperienza che portano nelle esibizioni palco in concerto. Inoltre molti dei musicisti of Music and Drama. Ha debuttato nell’opera Barbiere di Siviglia. costituiscono il tratto distintivo di ogni partecipano al lavoro del Baylis Programme del nel ruolo di Commendatore al Glyndebourne produzione in cui appaiono. Particolari trionfi dipartimento di educazione e “outreach” Festival Opera di Hong Kong nel 1986 ed è Jennifer Rhys-Davies, che ha studiato al per il Coro sono stati Guerra e pace di dell’Opera e con l’English National Opera stato basso principale con la Welsh National Trinity College of Music, ha raggiunto un Prokofiev, Lady Macbeth dei macelli di Studio allo sviluppo di nuove opere, in Opera fino al 1989. Si è esibito diretto dai grande successo in ruoli principali come Shostakovich, Billy Budd e Peter Grimes di particolare The Silver Tassie di Mark Anthony primi direttori al mondo ed è apparso con Donna Anna, Donna Elvira, Konstanze, Britten, Boris Godunov di Mussorgsky, la Turnage che uscirà in prima mondiale nel tutte le maggiori compagnie liriche Regina della notte, Pamina, Miss Jessel (The Carmen di Bizet e l’Otello di Verdi. La loro febbraio 2000. L’Orchestra appare in britanniche, tra cui The Royal Opera, Covent Turn of the Screw), Lucia, Semiramide e Lady ultima registrazione, nella produzione di numerose registrazioni, tra cui il famoso Garden, English National Opera e Scottish Macbeth. Alla Royal Opera, Covent Garden Jonathan Miller diretta da Mark Elder, uscirà “Ciclo del Ring” diretto da Sir Reginald

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Goodall, che apparirà presto su Chandos con Direttore Artistico e Direttore d’Orchestra il patrocinio della Peter Moores Foundation, della Connecticut Grand Opera e come come pure le sue registrazioni del Werther con direttore ospite dell’American Symphony Dame Janet Baker diretto da Sir Charles Orchestra e alla Cincinnati Opera House. Una Mackerras e dell’Otello di Verdi diretto da collaborazione con la Orkest van Hetoosten Mark Elder. Altre registrazioni per Chandos/ all’Opera Forum di Enschede, Paesi Bassi, Peter Moores Foundation sono Maria Stuarda, iniziata nel 1988, è culminata nella sua

Giulio Cesare, Rigoletto (produzione di nomina a Direttore Capo dell’Orchestra dal Lichfield Jonathan Miller) e La traviata. 1992 al 1997; durante questo periodo ha diretto le esibizioni di Macbeth, Stiffelio, Nato a Legnago nei pressi di Verona, Gabriele Rigoletto, Il trovatore, Falstaff, Madama Bellini è stato educato al Conservatorio Butterfly, Tosca e Wozzeck, tra le altre. Nel Turner Carpenter Robert Benedetto Marcello di Venezia e al 1998 ha aperto il Festival di Donizetti a Conservatorio Giuseppe Verdi di Milano, dove Bergamo con L’elisir d’amore ed è tornato a si è diplomato in corno, composizione e dirigere La bohème. Recentemente Gabriele direzione. Ha continuato i suoi studi per Bellini ha anche diretto la Norma a diventare direttore d’orchestra con Franco Groeningen, La rondine al Teatro del Giglio di Ferrara, Hermann Scherchen, Sergiu Lucca, Linda di Chamounix a Bologna e I Celibidache e Hans Swarowsky. I suoi impegni puritani in Spagna. Ha anche diretto Eine professionali hanno spaziato in tutta l’Europa Nacht in Venedig alla Komische Oper di e negli Stati Uniti ed includono collaborazioni Berlino ed è apparso all’Opera norvegese di con Claudio Abbado al Teatro alla Scala di Oslo, The Royal Opera, Covent Garden come Milano per molte stagioni. Ha lavorato come pure a Göteborg e Lipsia. Della Alan Jones Opie

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COMPACT DISC ONE The Count Be silent, she’s coming. No more singing, no more playing. Your friends… they’re ready? If only she’d hear me: I no longer need your music, so you can go. 1 OVERTURE I need my love so near me to end my despair! Fiorello Fiorello How I love her now and ever. Oh, have no fear. So good morning, you’ve got your money, Act 1 Undying devotion! if we need you, we’ll let you know. The Count I will love her forever. Scene 1 5 (The musicians gather around the Count, kissing Bravi, bravissimi. Oh, blissful emotion beyond compare. his hands and cloak. He is annoyed and tries to A square in Seville Please do be silent; (It grows lighter.) chase them away. Fiorello does the same.) piano, pianissimo, 4 The time is just before dawn. At the left is the house Hey, Fiorello! don’t make a sound. Chorus of Bartolo, the windows having closed blinds and Fiorello Thank you, thank you, bars which may be opened with a key. Fiorello, Chorus Signore… Sir, we thank you, at your service… carrying a lantern, leads in a group of musicians Piano, pianissimo, The Count Such an honour, thank you. with their instruments. don’t make a sound. Well, do you see her?… You have done us such a favour. 2 Fiorello If you need us we will stay. Introduction Fiorello Don’t make a sound. It’s an honour to have met him. Sorry, no. Fiorello (approaching cautiously) Gather around… He is noble and he’s sincere! Piano, pianissimo, don’t make a sound. Don’t make sound. The Count Fiorello This is the house, gather around, gather around. All my hopes will come to nothing! Come gather round! 3 (The musicians tune their instruments and the Quiet, quiet! What a racket! Count sings, accompanied by them.) Fiorello Damn you people! Go away! Chorus Dawn has broken, we’ll be discovered. The Count Piano, pianissimo, don’t make a sound. Cavatina The Count Thank you, thank you, that’s enough now, Come gather round. The Count She ignores me… I have failed. I don’t need you, please be quiet… Fiorello See how the smile of heaven It is useless… You musicians… Damn you people! smiles as this fair dawn is breaking. Why can’t you stop it? Ev’rything’s quiet, there’s no one near Chorus Are you not yet awaking, Noisy rabble. Go away! who might disturb us, or overhear. Yes, Signor… ah, how can you still sleep? All this noise will wake the neighbours, The Count Awake, now, arise my darling, The Count stop this chaos, they will hear. Fiorello, you there? come my beloved, save me, He’ll pay you, he’ll pay you. Fiorello Fiorello comfort the pain you gave me; (The Count gives his purse to Fiorello, who Damn you people, can’t you stop it? Signor, I’m here. love’s dart has pierced so deep! distributes money to the musicians.) Noisy rabble, go away.

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Quiet, quiet! I have a finger in every pie have I! Ah, bravo Figaro, The Count Quiet, quiet, what on earth am I to do? Ah, what a life I lead, bravo, bravissimo. Keep your voice down, be quiet. (The musicians go out.) oh, so fulfilling, You have a problem, I have the answer, I am here incognito, to be a barber and I’m the best! you cannot solve it, Figaro can. and I wish to remain so. Recitative Ah, bravo Figaro, bravo, bravissimo, bravo! I solve your problems, I am your man. You see… I’m on a secret mission. La la la la la la la la la la. The Count Recitative Fortune has singled me out for success. Figaro 6 What common people! Not a dull moment, life is all action, Figaro I like it, I like it, I’ll make myself scarce. Fiorello job satisfaction’s what I enjoy. 8 Ah ha! What could be better? I’m sure they will have woken all the neighbours Lots of adventure, money and laughter, To be a barber is so very undemanding The Count with that terrible racket… They’ll never work all I’ve been after since I was a boy. that I’ve lots of little sidelines, it’s easy money… No! again… reward for my experience and wisdom! Brushes and brilliantine, Figaro I’ll see to that! I’ll explain: without Figaro no girl in the whole scissors and shaving cream, You need me? of Seville can get married and all the wealthy Figaro (offstage) these are the precious tools of my trade. widows ask me to find them husbands. La la la la la la la. Part of my service, for all enquirers, The Count helping the ladies and their admirers. Listen… under cover of hairdressing by day Can I still count on your discretion? The Count Ev’ryone’s after me, after my services, with my guitar as alibi at night-time, Damnation, someone’s coming. widows and virgins, dandies and urchins: I’m a proper marriage broker. Figaro I’ll hide round this corner give me a kiss-curl, help me find this girl… I fix them up, it’s all part of the service – Why, of course! But you, what brings you to ’til I see what is his game. Short back and sides please… What a life… such fun! Seville? Even in daylight my love will know no shame. Find me a bride please… What a vocation… Figaro, Figaro, Figaro. but I must go and open the shop. The Count (He hides under the portico.) It’s all too much, I’m busy, queue up. Well now, I’ll tell you: The Count (stepping forward) Too many! in Madrid I saw the girl of my dreams… Scene 2 (I know him, or am I mistaken) Do me a favour, Ah, what perfection! (Figaro, with a guitar slung round his neck; the please, wait your turn. Figaro (noticing the count) Daughter of a certain decrepit old doctor Count [hidden]) What now? Eh! (Who can this fellow be?) who lives in that house there; But how? it was love at first sight. 7 Cavatina The Count Figaro come, Figaro go, I at once made my mind up, (Yes, I’m sure I’m right – Figaro!) Figaro (entering) Figaro yes, Figaro no. followed her here, and standing night and day, La la la lera, la la la la. You need a gigolo: trust in old Figaro, Figaro (recognising the Count) pacing up and down I wait beneath her Here at your service to do or die am I! you want a barber, I am your man. At your service… Oh, good heavens, your Lordship! window.

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Figaro Scene 3 Rosina (to the Count) Go inside and shut the window! You mean that window… a doctor? Oh, haven’t you heard of it? Go, hurry up! Do you hear me? (Rosina, then Bartolo on the balcony, and the Well I can tell you, It’s from Rossini’s new opera. I said go in! others) you have chosen the right street, Bartolo Rosina you lucky fellow… you’ve fallen on your feet. Rosina (looking out over the square) An opera? 9 Alright, Alright! Keep your wig on! I cannot see him anywhere. Maybe… Is it really? The Count Bartolo The Count (stepping out from under the portico) I suppose it’s the usual kind of nonsense: Really? That damn window, I’ll have it cemented! Oh, my angel! My goddess! My beloved! At last I these modern operas are quite unfathomable, Get inside there. Figaro see you… at last! the story’s always feeble, miserable rubbish, Really! In that house I am the barber, should be made illegal! Rosina (The Count hides again.) the hairdresser, the surgeon, Rosina (She lets the letter fall to the pavement.) Must I always be tormented? the herbalist, the vet… Rosina (She holds out a letter.) Oh! How stupid! I’m indispensible… In fact I run the place! How can I do it? I must give him this letter? I have gone and dropp’d it… Scene 4 The Count Bartolo Will you quickly go and get it? (The Count and Figaro, later Bartolo) This is perfect! Good morning, Rosina. The Count The Count (stepping out with Figaro) How’s the weather? Perhaps I’d better. 10 Poor little innocent creature! Figaro And what is that paper? Moreover, your beloved isn’t the doctor’s daughter, Rosina (to the Count) Such a terrible existence makes me all the more he’s only her guardian. Rosina Pst! Got it? determined! Nothing, nothing, Signore, Figaro The Count (stepping out) The Count only the words of that aria from Quickly, quickly. Let’s see what she has written. Oh, that’s even better. ‘The Girl who lov’d a Stranger’. I heard you… Yes, I’ve got it! The Count Bartolo Figaro The Count (to Figaro) Go on then, read it. I’m here. Where is it? And so… quiet! I like it, from ‘The Girl who lov’d a Stranger’… Figaro (reading) Rosina The Count Your frequent appearances have aroused my Figaro The breeze blew it away, try there… What now? How crafty! curiosity. As soon as my guardian has gone out, Bartolo find some means of telling me your name, your Figaro Bartolo I still can’t find it… Hey little bossy boots it’s title and your intentions. It is impossible for me There’s someone coming. And who may she be, this ‘Girl who lov’d a not here. to come out onto the balcony without arousing (They hide under the portico.) Stranger’! (Damnation. I’m sure she’s up to something.) the suspicion of my tyrannical guardian. But rest

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assured that in order to break her chains every I must marry the girl without delay. (He offers his guitar to the Count.) The Count possible means will be tried by the unfortunate Yes, the arrangements must be made today. Oh, I’m so happy? The Count Rosina. The Count (forward with Figaro) A canzonetta? Figaro Today he will marry my Rosina! The Count Figaro The next verse… come on… keep going! The lecherous old weasel! Yes, yes! She must be saved! Just a moment, is Surely! Borrow my guitar, quickly do it. her guardian as awful as he seems? But tell me, my friend, who is this Don Basilio? The Count (He sings again.) The Count Your Lindoro sincerely confesses Figaro Figaro Well, really… that his pedigree scarcely impresses. Much worse. He’s tight-fisted, suspicious, Another nasty piece of work, a marriage-broker I lay no fortune or title before you, avaricious, always grumbling. of the worst kind; a useless good-for-nothing Figaro I’ve come here to tell you, I truly adore you. He’s obviously past it but he still thinks he’s who is always cadging money… Hey, he’s a God give me patience. With a sigh of affection I’ll stay professor of music and teaches poor Rosina. attractive. The Count from the dawn to the dusk of each day, You won’t believe this: he’s hell bent on marrying The Count All right! Let’s try it! from the dawn to the end of each day. Rosina. That’s worth knowing, now I think I’ve got the Rosina His only reason is she’s worth a fortune picture. (He takes the guitar and sings to his own and he can’t wait to get his hands on it… accompaniment.) Your Rosina sincerely confesses Figaro that her heart for Lindo… (Hearing the door of Bartolo’s house opening, they 11 Now quickly tell me what you wish to say to Canzone get back in a hurry.) (One hears the sound of the window being closed.) Look out, Sir! Rosina in answer to her letter. The Count My poor heart is so full of emotion, Recitative The Count The Count I will not tell her my name or my title. It’s I must sing to you of my devotion. What? I am Lindoro, I truly adore you, The Count important to find out whether she loves me, and 12 What’s happened? Figaro loves me for myself, not for the wealth and title be mine I implore you, The door is opening. of Count Almaviva. my heart’s burning for you, Figaro and Rosina’s the one word I say It must be that someone has come into the room. Bartolo (speaking back into the house) Figaro from the dawn to the end of the day. Try again some other time… Now then, I’ll be back in a moment. Keep your voice down! We’re within earshot: Rosina (her voice is heard singing the ritornello (coming out) look up there… I’m sure I’m not mistaken. Up The Count (emphatically) from her window.) Keep the door locked at all costs. there behind the shutters I see Rosina. Quick No, I can’t wait! I’m going crazy, I want her… Oh, continue beloved I pray! If Don Basilio comes here to find me, make him now’s your chance – no one’s looking. A whatever happens I must see her today… wait. charming canzonetta is all that’s needed to tell Figaro I must speak to her. And you, I’m relying on (He locks the door behind him.) her how much you are in love. You hear her… you’re doing well! you…

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Figaro 13 Duet The Count The Count Hey, hey, such passion, I’ll see what I can do! And then? He’s a genius! Machiavelli! Figaro The Count You need only mention money, precious metal, Figaro The Count and Figaro That’s the spirit. By sunset I want you to get me divine pesetas! It’s simple. We’ll arrange official papers, billet How ingenious, bravo, bravo what a plan! into the house. Tell me, how can we do it? And my mind erupts like hot volcanic craters, you within that house. What d’you think then, The Count Come on, you’re so clever – think of something. overflowing with a million bright ideas. my Lindoro? What d’you say? Will that not do? Now what? I’m a genius, Machiavelli! Bravo, bravo, what a The Count Figaro plan! How ingenious! Figaro I’m so clever?… Thank you, we’ll see, today Well, let’s see what money can accomplish, To work, Sir! what effect it has on your imagination. The Count though… The Count Can this powerful volcanic inspiration He’s a genius, Machiavelli! Bravo, bravo, what a Let’s go then! To battle! Oh, how stupid! The Count put an ending to my cares, plan! How ingenious! Oh, come on man, what’s the problem? yes, can this mighty inspiration I’ve forgotten the most important question… Ah-ha, I get the message, you needn’t worry, you put an ending to my cares? Figaro Tell me where can I find you, will be well rewarded. Wait though, another brainwave! See how Where’s your shop then? Tell me where. Figaro money helps me think! You’ll be plastered, yes, For a start we must disguise you… Figaro Figaro you’ll pretend that you’ve had far too much to For example, as a soldier? Where to find me? You can’t miss it! You mean it? drink! Don’t you worry. My shop is there. The Count (pointing offstage) The Count The Count As a soldier? Look for my barber’s pole striped red and white, I mean it. I’ll be plastered? Figaro Sir, number fifteen, Sir. First on the right, Sir. Figaro Figaro Yes, Signore. Wigs in the window, all shapes and sizes. Yes, Signore. Look for the lantern, I’ve got disguises, So you’ll make it worth my while? The Count powders and potions for the complexion, As a soldier? But tell me why. The Count The Count I’ll be plastered? Tell my why? lacquers and lotions quite a selection. Money’s no object. Answer me quickly! Figaro That’s where you’ll find me. There’s a regiment arriving. Figaro I’ll meet you there. Figaro Why? If you’d too much to drink, All right then. Ah, you don’t realise what an The Count if you seem drunk as a lord, The Count effect one small word can have upon me. My Yes, and I know the colonel well. that old man will never think, I understand you. dear Lindoro, it’s really rather funny, but I’m Figaro will never suspect you intend to steal his ward. Figaro inspired when someone mentions money. Very good. I’m a genius, Machiavelli! Now we must hurry!

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The Count Figaro then I will make you pay Rosina You’ll get what’s needed? Think of the money I will be earning. and with a viper’s venomed fang, Ah, don’t make me laugh. Figaro Thanks to my talents I’m a rich man. a hundred tricks I’ll play But what’s the use of being beautiful You needn’t worry. Think of it! I’ll be a rich man, no longer poor! until I have my way, if no one ever sees me? Unusual daring rises within me, let him beware. I’m shackled to that fossilised crustacean, The Count ah, how it makes me more of a man. whose single aim in life is my incarceration. You will not fail me… Recitative Figaro Figaro Scene 5 Rosina 16 Oh yes, I’ll win the day, but first I must find a Incarceration?… Oh, no! I’m here to serve you. (A four-doored room in Doctor Bartolo’s house, the way to send this note to him. Who’ll take it? (taking her aside) windows with blinds as in Scene 1. A writing desk The Count There is no one I trust here and my guardian has Now listen, I want to… at the right. Rosina with a letter in her hand.) God bless you, Figaro… eyes in the back of his head. I might as well send 14 (They hear footsteps.) Figaro Cavatina it. Perhaps Figaro would help, I saw him out May heaven preserve you… Rosina there, he was chatting with Lindoro half the Rosina morning. Surely he’ll take the letter, he knows There’s my guardian. The Count In my heart a gentle voice spoke of love at break of day my situation and looking after lovers is his I will be bringing… vocation! Figaro and my heart has made its choice, Are you certain? Figaro with Lindoro I want to stay. Plenty of money! Yes, Lindoro shall be mine, Scene 6 Rosina The Count I’m determined I’ll have my way. Figaro Yes, I’m certain, those are his footsteps. Money to burn, but first you must earn it… Though the doctor may intend 17 Good morning, Signorina. to propose to me one day, Figaro Rosina Figaro I’ll defeat him in the end, Then I will hide, when the coast’s clear I’ll come Good morning, Signor Figaro! I can smell victory, leave his plans in disarray. and find you. I’ve got something to tell you. all will be well. 15 I can be so demure, Figaro Rosina The Count I can be charming, And tell me, how are you? And so have I, Signor Figaro. Ah, how love’s fever sets my heart burning, and quite respectful, Rosina tender and passionate, aching and yearning. sweet and disarming. Life here’s so boring, Figaro Love never felt before rises within me Treat me with due respect, Excellent. I’m off. and how it makes me more of a man. the least that I expect, Figaro Fortune has smiled on me, and I’ll play fair. That’s terrible, is it possible? A young lady so (Figaro hides, but he can be seen peeping out from made my dream a reality. But if you cross my way beautiful and high-spirited… time to time.)

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Rosina I like him, he’s so lively, Bartolo Bartolo 18 Where would I be without him? I find him funny and very sympathetic. What? The one who’s been chasing after my But that would be slander. (That should go down well, like an emetic!) Rosina? Scene 7 Basilio Bartolo Basilio Ah-ha, slander… if it gets what you want, would (Bartolo and Rosina, later Berta and Ambrogio) I simply can’t resist her. That one precisely. you disdain it? I love her, yet she does nothing but insult me. Bartolo Bartolo I feel certain that the barber puts her up to this Bartolo Damn that confounded Figaro! That’s all I need! I don’t like it. mischief. I wonder what he told her. We must find a way to stop him! He’s always in the house, the man’s a menace! 19 Who’d know? Basilio Basilio Rosina No? Then listen. I’ll explain it. Here we go, always grumbling. Scene 8 Certainly but… very discreetly. Bartolo 20 Aria Bartolo (Bartolo, then Don Basilio) What do you mean? Basilio What could he have been saying, and how long Bartolo Innuendo, the slightest whisper, did he stay here? Oh! Don Basilio! Your timing is perfect. Basilio mere suggestion, somewhat pervasive, I really must be tougher; that wretched barber, Oh, I tell you, by fair means or by foul, What if we start a rumour… something subtle and persuasive, one day I’ll make him suffer! first thing tomorrow I marry my Rosina. invent some misdemeanour plant it gently, oh, so gently, Signorina, where’s the barber? Have you seen him? You understand me? from his past to discredit him, to ruin him, destroy his reputation, watch it grow and grow until it’s taken root. Rosina Basilio blacken his name so thoroughly that he’ll have Keep it quiet, hardly breathe it, But why? I understand you perfectly. no option but to leave Seville for ever… and I’m don’t confirm it, don’t conceal it. Bartolo the man to do it: So a sly insinuation Bartolo grows with each exaggeration, Because I wish to know. Good! in less than four days, you mark my words, fan the flames and watch them flicker, Rosina Basilio Basilio guarantees it, first a nudge and then a wink and then a snicker Perhaps he gets on your nerves. What’s more, I’ve news which makes the matter he’ll be hounded out of town, all create the wrong impression ’til our little indiscretion Bartolo urgent… but keep it quiet… he’s here! just you believe it. gets repeated and repeated What if he does? Bartolo Bartolo and the mud begins to stick. Rosina Who? You really think so? What began diminuendo Alright then if you must know. Basilio Basilio grows towards a great crescendo, Yes, I have seen him and we talked. Count Almaviva. I know so! I have a system, and it’s fool proof. fact is quickly lost in fiction,

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past all hope of contradiction. Scene 9 Rosina Rosina Soon the noise is loud as thunder, You’re joking! Oh, really. This poor young man, your cousin, (Figaro enters cautiously, then Rosina.) tearing all the town asunder, perhaps I could be of help to him. Figaro banging, crashing, booming, clashing, Figaro For once I’m serious. ’til complete confusion reigns. 22 So that’s it! Figaro He’s drawing up the contract with that slimy This volcano of corruption The old devils! You help him? Basilio in there this very minute. overflows in an eruption Now I know ev’rything! Rosina causing damage and corrosion! Good luck to you old doctor. Rosina Don’t you believe me? With the mightiest explosion, Don’t be so absurd! What, how stupid can he be? it’s as if the world is ending, Her husband! He must be crazy, he’ll have to deal with me. Figaro or the wrath of God descending, Come off it! But tell me, Signor Figaro, a little while ago, Oh, yes! storming, raging, never ending I’ll make you eat your words. there beneath my window, you were talking to a ’til the world is upside down. Now that they’re in his study, stranger. Rosina Though the slander is unfounded, I must break the happy news to Rosina. And his beloved, tell me, is she far away? Figaro its poor victim is so hounded, Ah, here she is. ostracised, humiliated Ah! That was my cousin, a fine upstanding fellow, Figaro that he wishes he were dead. Rosina quite intelligent and yet romantic. No, no! She’s here, I mean quite close. What’s happened, Signor Figaro? He’s come here to Seville as a student and the Recitative poor boy hopes that he’ll make his fortune. Rosina Figaro Basilio Is she pretty? I’m not sure that you can take it… Rosina 21 Well, what d’you think? Figaro Rosina His fortune? Bartolo Oh, I’m sure he will! Oh, very pretty! No, I’d rather do it my way. Well, try me. How can I do justice to such beauty? I must marry her today. Figaro Figaro She’s shapely, very witty with hair in ringlets, Come and help me prepare the marriage I can hear church bells ringing… Oh, one can’t be too certain for, between you cheeks like summer roses, eyes full of laughter contract this very minute. Once she and I are and me, he’s got a serious problem. and the daintiest little fingers. married, I’ll keep her from those fancy Rosina Rosina Casanovas that hang around here, they’ll get What on earth do you mean? Rosina A serious problem? Her name is? their come-uppance! Figaro Basilio I mean to tell you that by this very evening your Figaro Figaro As long as I’m paid, darling guardian has decided to become your Oh, enormous! You want her name too? Her name is… I couldn’t care tuppence! blushing bridegroom! He’s head over heels in love. Ah, it’s so lovely. Her name is…

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Rosina I am dying of anticipation! Figaro (astonished) Scene 10 Come on. Her name is?… What’s the cause of his delay? What… already written! (Rosina, then Bartolo) What a woman, Figaro Figaro she’s no need of education! Recititative Perhaps you’ve seen her, her name is He is waiting for a signal, R… o… Ro… s… i… si… Rosi… n… a… poor young man in such dejection. Rosina Rosina na… Rosina. Send a token of affection I am filled with such elation, 24 Now I feel so much better. and he’ll soon be on his way, I begin to breathe again! That Figaro is full of good ideas. 23 Duet send a letter, he’s on his way, Bartolo (entering) Rosina just a letter and he’ll soon be on his way. Figaro What’s the matter? (Some sweet talk, that should do it.) Then it’s me… She’s a source of inspiration My little dumpling, tell your dear old guardian You would not tease me? Rosina when it comes to luring men! what Figaro was doing here this morning. Then it’s me… I’m too shy… He really loves me! Rosina Rosina But I had already guessed it, Figaro Love’s my only consolation, Figaro? I had known it all along. No, have courage. love’s my only guiding star. I know nothing. Figaro Rosina Figaro Bartolo I assure you that Lindoro, Don’t know why… Women are beyond me, But you spoke? he adores you, dear Rosina. Figaro fascinating and bizarre. Rosina What a cunning little schemer, Just a message. Yes, we spoke. but she’ll have to deal with me. Rosina Rosina Tell me, where’s Lindoro? Bartolo Rosina I’m embarrassed… What did you speak of? Listen, listen… Figaro Rosina I can’t wait to see him, you must tell me how? Figaro On his way. Oh, this and that, things of no importance: There’s no need, come on. He has told me he’ll be coming here today. Figaro Quickly, write the letter! What they are wearing in Paris, Don’t you worry, he’ll be here to see you any and the illness of his daughter Marcellina… Rosina moment now. (She takes a letter from her pocket and gives it to Does he know the situation? Bartolo him.) Rosina Oh, really? Here to see me? Rosina Figaro And I would wager that he brought you an Oh, how lovely, does he know the situation? Write a letter… Well, here it is. I have told him what to say! answer to your letter!

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Rosina Bartolo Sending sweets to Marcellina? COMPACT DISC TWO What letter? A flower? Sketching flowers to embroider? Burnt your finger? Scene 13 Bartolo Rosina What nonsense! Oh, come now! A flower! (The Count dressed as a cavalryman, then You must find a taller story The aria from ‘The Girl who Lov’d a Stranger’ Bartolo) that you dropped ‘by mistake’ out of the window. Bartolo or I’ll cut you down to size. Why are we blushing? A flower? You must find me something taller. 1 Finale I I’ve caught her good and proper! Ah, you hussy! Where’s that missing sheet of paper? Don’t deny you wrote a letter, The Count If you haven’t been writing, please account for Rosina Where’s the master? that ink-stain. you should really know me better, I swear… don’t you think that you can charm me… Where’s the mistress? Rosina hold your tongue, you can’t placate me. No one’s here then? Ink-stain? Bartolo Hey! Silence! No, my dear girl, don’t underrate me That’s nothing! or you’re in for a big surprise! Bartolo (entering) That’s where I burned my finger Rosina Come, Rosina, don’t be stubborn, Who’s this fellow? and I put some ink on it. Believe me… and I promise I won’t be vexed. Some kind of soldier? It’s getting better. Pretty villain, still so sullen? He’s been drinking! Bartolo Then I know what I’ll do next. Why’s he here? Bartolo I’ve had enough! Ludicrous. These sheets of paper… only five here. In the future when I leave you The Count There were six. Rosina I will see that you are guarded, tell the servants you’re regarded Where’s the landlord? Rosina Signore… now as under house arrest. Lousy service! That paper? Bartolo Do not try to win me over Hey! You’re right; You can’t deceive me. with your crying and your sighing. I used one of them to wrap up some chocolates Bartolo Now the penalty for lying for Marcellina. 25 Aria What d’you want? could be more than you had guessed. Hey, that’s my brandy! Bartolo Bartolo For my innocent Rosina, The Count How kind of you, but in that case this pen Dare you offer such excuses now it’s solit’ry confinement… Ah… At last! would not be inky. to an eminent physician? Yes, yes, ’til you show me some refinement, How nice to meet you! Rosina From a girl in your position I will teach you who knows best. Damnation! I expected better lies, If you offer such excuses Bartolo The pen… I used to draw a flower on my sewing! I expected something better. then you’re in for a big surprise. What on earth is going on?

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The Count The Count (She comes forward.) Bartolo Just a moment. Ah! Coincidence! To your bedroom?… The Count I’ve got the name here. Let me kiss you! Come Rosina, my beloved, The Count You must be this Doctor Barnado? We are colleagues! I must seek my darling out. To start unpacking. Bartolo Bartolo (seeing Rosina) Bartolo Not Barnado! Get off me! It’s Rosina, at last I’ve found her. To your bedroom? Are you joking? The Count The Count (He roughly embraces Bartolo.) Rosina The Count Ah, Bastardo. Come!… I’m a doctor in the forces, He has seen me, he’s approaching! Darling! and I specialise in horses! Bartolo The Count (softly to Rosina) (showing him his paper) Rosina I most certainly am not, Sir! I’m Lindoro. Try to get it right, young man! And my billet is in your house, Oh, heavens… here’s the order see for yourself! Doctor Bartolo! Rosina Bartolo 2 Ah! How long ’til I behold her? I can’t believe it! The Count This is outrageous. Bartolo Do be careful, now my heart is fill’d with fear! Ah, I’ve got it now: Doctor Bungalow. The Count This is more than I can tolerate, Bartolo (seeing Rosina) (to Bartolo, as the Count starts towards the inner Bartolo what is it all about? He’s plastered! Why, Rosina, are you staring? rooms) The Count Can’t you see that we are busy? Let’s get going… The Count Ah! When will my arms enfold her? Makes no difference whatsoever. Rosina Bartolo Bartolo You’re the one whose eyes are glaring. Oh no, Signore, there’s no bedroom for you here. Bartolo Oh, I simply can’t communicate, The Count I am quickly losing patience. I’ll have to throw him out, that’s enough! Bartolo I must try to keep my head! Quickly leave us, go get out of here! Why not? Bartolo The Count Scene 14 The Count Because I’m telling you! Where’s my darling? (Rosina, and the others) Signorina, I’ll come with you! I must find her! I’ve a warrant of exemption. Rosina What’s she doing… Still in bed? Bartolo The Count Who’s this soldier… So, Signore… You are a doctor? And where do you think you’re going? An exemption? (She stops, looking at Bartolo.) Bartolo with my guardian? The Count Bartolo That’s correct, Sir… I’m a doctor! What can this be all about? To my bedroom… Wait a minute and I’ll show you, it’s in here.

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(He goes to the writing table.) Bartolo Now drop your handkerchief! The Count What the hell d’you think you’re doing? (He seizes the moment when Bartolo’s attention is So you’ll fight me? The Count (to Rosina) distracted and drops his letter. Rosina drops her On your guard! Just in case I cannot stay here, The Count handkerchief over it.) Hey! take this letter… Can’t you hear me, Doctor. Deafness? And my allies, they are here. In this house I have been quartered, Rosina On your guard. Rosina in this house I mean to stay! Please, don’t get in such a temper. Look out, he’ll catch us. Bartolo I had dropp’d it in my hurry. Bartolo Just one moment!… It’s the laundry list, don’t worry. Bartolo (searching the writing-table) Is that so?… Where on earth can I have put it? The Count Bartolo (tearing the paper out of her hand) The Count What is it?… You are lying, hand it over, give it here! Rosina It is indeed, Sir! Combinations! Be careful!… (Turning, he pretends he has just seen the letter Berta Bartolo and picks it up.) Bartolo Here they are, Sir… combinations! You may think you’re very dashing, Damn the thing, I’m sure it’s here. Bartolo but I’m sure a damn good thrashing Bartolo What’s that paper? Rosina will soon send you on your way. She was not lying! We must pray he doesn’t find it You had better heed my warning. The Count It’s the laundry! or he’ll throw you out, I fear. Oh, it’s only a prescription! How amazing! The Count No! It’s a letter… you must have dropped it, The Count and Rosina The Count So you’re serious? since it seems to be for you. We must pray he doesn’t find it You want to fight me? Now his mind is really racing, or the game is up, I fear. Fine! I’m ready for a fight! (He bows before Rosina and gives her the letter and we have caught him in our trap. I love fighting, but we must plan it, the handkerchief.) Bartolo (coming forward) Berta let’s be sure to get it right! Ah! Here it is! Rosina I’m quite baffled, it’s amazing. (amiably approaching Bartolo) (He reads.) Thank you! why are they in such a flap? Pay attention, here’s the ramparts, This is to certify Dr Bartolo (She exchanges the letter for another piece of paper.) you’re my enemy in battle. Basilio is hereby exempted from… (giving Bartolo a push) Bartolo So so so doh re mi fa re so mi la fa ti so doh, The Count (throwing the parchment in the air) On your guard! Thank you! Why are they in such a flap. So much for your document! And my allies… Hand it over. Bartolo It’s invalid (quietly to Rosina as he goes near and shows her the I can see what you are up to, Ah, my mind is really racing. from today. letter) did you hear me, give it here! They have caught me in their trap!

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Rosina Scene 15 Bartolo Figaro and Basilio All my life… Impudent ruffian! Now you have done it! Figaro the same old story, 3 Stop this noise! Rosina, Berta and Figaro. always scolded and suspected, The Count and Bartolo What’s going on here? Doctor, be quiet. kept in prison and neglected, No need to worry, let them come in! Why all this bawling? I can’t bear it any more. Bartolo Have you gone crazy? Bartolo, Basilio, Rosina, the Count and I won’t be quiet! Bartolo (approaching her) This is appalling! Berta Poor Rosina… People are wond’ring Rosina, Berta and Figaro What a disaster. what all the trouble is. Don’t be so violent. How will it end? The Count (threatening Bartolo and grabbing her There is confusion all over town. arm) Signor, be careful. You must calm down. The Count Last Scene Get away, you have upset her… I’ll start a riot. Bartolo Rosina, Berta, Figaro and Basilio Chorus Bartolo Cocky young upstart! 5 People will hear you all over town. Pay attention! What’s the trouble? This is your fault… you must forget her… Who’s the culprit? No one move! (pointing to the Count) The Count Who has started this disturbance? The Count The Count (pointing to Bartolo) Now I will murder him, What can anybody prove? Ah, you traitor, I will teach you… Bloated old lecher! I’ll knock him down! Why this noise? (drawing his sword ) Bartolo Rosina, Berta and Figaro Bartolo 4 Someone is at the door. Rosina (restraining the Count) I’ll knock your block off. This young blackguard has abused me, Rosina, Berta, the Count, Figaro, Bartolo and he has set on me and bruised me, Don’t be violent, we beseech you! The Count Basilio yes indeed. I’ll smash your face in! Berta, Bartolo and Basilio Who can it be? Don’t be violent, we beseech you! (raising the basin as if threatening) Figaro Bartolo I was passing by this way The Count Figaro Who’s there? and found the place in disarray, You’re about to meet your fate! Now, Mister Soldier, don’t be so headstrong, Chorus (offstage) yes indeed. Let go of me! if you don’t stop this I’ll have to knock you out, The army, so let us in. if you don’t heed me I’ll knock you down. Basilio and Berta Rosina, Berta, Bartolo and Basilio Rosina, Berta, the Count, Figaro, Bartolo and All this couldn’t be absurder, Someone help us, he will murder him… The Count (to Bartolo) Basilio he was threatening to murder, Quick before it is too late! Ugly old fogey! The army! How terrible!… yes indeed.

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The Count Doesn’t know what to think. Berta and Rosina Recitative This is where I had my billet Ah, how hysterical, I cannot breathe! We agree. Bartolo but this fool won’t let me stay, So we see we are free. 8 The Count I’ve got to find the answer! yes indeed. Wide-eyed with wonderment, The Count, Figaro and Basilio My enquiries about that drunken soldier all Rosina frozen and petrified, That suits me. came to nothing… You can blame the situation they’re rooted to the spot, So we see we are free. As no one seems to know him. on this man’s inebreation, I cannot breathe. I wonder… yes indeed. Bartolo Oh, I’ve got it, I think he’s spying for the Count Stretta Let me tell you, Almaviva, who sent him here to sound out my Officer you must listen! Rosina, to see it she could be his latest conquest. Bartolo (to the Officer) It’s clear now. A man cannot feel safe not even in his own house. 7 If I may… Rosina, Berta, the Count, Figaro, Bartolo, Come along… But if I… Let me say… Basilio and Chorus I must arrest you… (a knock on the door) I protest… In my head a blacksmith’s hammer Off to prison… Who’s knocking? I request… beats and pounds upon its anvil. (The soldiers move to surround the Count.) Hey, who’s there? Raising such a piercing clamour, Off we go! Berta, have you gone deaf? No need to fear: Bartolo, Berta and Basilio rising, falling, quite appalling, Let them all in, Doctor Bartolo is here. The Count But if we… loud enough to wake the dead. Me arrested? Really? Not so fast! But if he… Now it’s banging, now it’s crashing, But if she… Scene 2 6 (With a commanding gesture, he makes the soldiers like two mighty armies clashing, Don’t you see… ? 9 stand back. He takes the Officer aside and shows it’s as if the world were ending, Duet him a paper. The Officer reads it, showing surprise. Chorus Armageddon in my head. The Count He orders the soldiers to move back. All stand No, you can’t, Pounding, beating, still repeating, Peace and joy be yours for ever. frozen in amazement.) No, you shan’t, now advancing, now retreating, Joy and peace and ev’ry blessing. What about?… my poor brain is overheating, Peace and joy be yours forever. Rosina, the Count, Bartolo and Basilio Don’t you shout! it’s enough to drive you mad. Joy and peace and ev’ry blessing. Frozen and motionless If you what? All my plans went wrong this morning just like a monument, He did not. Act II but I’ll still avoid detection, I’m rooted to the spot If she what? As a loony music teacher and don’t dare breathe! Scene 1 We do not! I will trick him yet again. Figaro You may go about your business, (A room in Bartolo’s house, with a seat and a Ah yes, I’ll trick him yet again. Look at Don Bartolo! we declare this matter closed. pianoforte on which lie pieces of music) Live in peace and live contented.

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Once again I have deceived him The Count Bartolo and by doing so I might do you a favour… What a feeling of elation! Don Alonso, a professor of singing Louder! (with feigned embarrassment, as if to justify himself) Ah, my love, your music master and a pupil of Don Basilio. Speak up, man! because… using the letter… I could try to… soon will carry you away! Bartolo The Count (also angrily, raising his voice) Bartolo He will carry you away. Continue… All right! Try what?… Ah, your music master soon will take you, Just as you please, but it’s clear you have no I have come, I will carry you away. The Count The Count notion with whom you’re dealing. Don Basilio has taken to his bed. I’ll explain… It would be to your advantage. Bartolo I have come from Almaviva… Thank you kindly, much obliged to you. I’ve come instead of him. If I could see her… Bartolo (more persuasive, holding him back) Very gracious, if I may say. Bartolo Bartolo Keep your voice down. Thank you kindly, pray don’t mention it. He’s ill? I’ll go and see him. I’m not sure about that young man. Absolutely, just as you say. Go on tell me, I’m list’ning… (starting to go) The Count In my mind the thought is dawning The Count I’d tell her how I got it from a woman who’s I’ve a hazy recollection, The Count His Lordship… known to be a mistress of Almaviva. I am sure I’ve met this creature There is no need to, he is not feeling that bad. but I don’t know where or when. Bartolo Thus I could prove to her that his intentions are Yes, I heard you (the man’s demented). Bartolo Please, not quite so loud. unworthy and dishonest and in this way… Can you stop it? What a bore! This is rather suspicious. The Count (calming down) Bartolo Have you finished? I’m going, come with me. I’m lodging in the same place as he is, Just one moment, you mean a slander! It’s never-ending! The Count (decisively) and this morning, guess what happened? Oh, bravo! Joy and peace and … Wait a minute… (showing a letter) (He embraces the Count and puts the letter in his Peace and joy and… I found this letter, it fell into my hands… pocket.) Stop it! What a bore! Bartolo It’s from Rosina to the Count Almaviva. You are a worthy pupil of Don Basilio! All my visitors are frightful! What’s that? Look at the writing. Such a delightful conspiracy is just the job What a trial and tribulation! The Count (in a low voice, drawing Bartolo aside) and you’ll be well rewarded. It’s a chapter of disaster, Something to tell you… Bartolo (taking the letter and looking at it) I’ll go and call my Rosina. this is not my lucky day! Good heavens! From Rosina. This is more than I’d hoped for. Bartolo Recitative I’m very grateful, you’ve done me such a favour. Speak a bit louder. The Count Bartolo Don Basilio knows nothing of the letter, The Count 10 I don’t think we have met, Sir, The Count and I just thought I’d come to give a lesson to Thank you, don’t mention it! who are you? And keep it short. What? Rosina, (Bartolo enters Rosina’s room.)

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That business of the letter was a slip of the tongue, The Count Ah, Lindoro, my beloved, Rosina quite unwitting, what could I do? What will you sing for us? if you knew how he abused me… You will save me…? I had to say something to avoid being exposed as He’s like Cereberus the watchdog, Rosina an impostor. he will drive me mad, I know! The Count I’ll sing you my new aria: it’s the one from I’ve got to take my chance, You must save me from his clutches, You have my promise. ‘The Girl who lov’d a Stranger’… now I must tell her all. where you lead me I will go. Rosina Will she accept me? Bartolo The Count And our love… It’s time to take a sounding. That title begins to haunt me, Do not fear, I will be with you, Here she comes at last… ‘The Girl who lov’d a Stranger’. we shall witness his overthrow. The Count Ah! How my heart is pounding! … will grow and grow! Rosina Rosina I thought I’d told you: Scene 3 You will save me…? Rosina it’s all the rage, this new Rossini opera. You must save me from his clutches, (Bartolo bringing Rosina; the Count) The Count Bartolo You have my promise… you have given me new hope. Bartolo It may be, but I think it’s frightful! 11 Come along, my dear, and listen: Rosina Recitative Rosina this young man has come here to teach you. And our love?… Ah, here it is. The Count His name is Don Alonso. The Count 13 What a talent. Bravissima! The Count Rosina (seeing the Count) Will grow and grow! Let’s see now… It looks delightful. Rosina Ah! (Bartolo wakes up.) (He sits at the pianoforte; Rosina sings to his Oh, thank you, thank you… Bartolo accompaniment. Bartolo sits and listens.) Rosina Bartolo What’s the matter?… Dearest of all beguiling visions, 12 Aria I grant you she has talent, Rosina sweetest image of love’s desire. but that blasted modern music is so discordant. Sudden cramp in my ankle. Rosina When you’re smiling your love inspires me, In my days things were different, When a heart for love is yearning you bring joy into my heart. The Count opera was opera and men were sopranos. its most passionate flame is burning. Allow me… sit down beside me here, my dear (Bartolo dozes off again.) I remember Caffariello. Though the tyrant tries to thwart it He sang a lovely aria: la la la la la… young lady; if you don’t mind, I’ve come to take The Count he will find there’s nought to gain. Now that’s what I call music. your lesson instead of Don Basilio who is sick. Have no fear. Love will always be the victor, Listen to this! Rosina cruel persecution attacks in vain. I will be with you, Ah, that will be a pleasure, shall we begin? (Bartolo dozes off.) we shall witness his overthrow. (interrupting himself )

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14 Arietta Because I’m fully booked. (He takes a bunch of keys from his belt, gives them Bartolo I’m trimming beards and whiskers for all the to Figaro, then takes them back.) Well… he’s met his match in me! Bartolo senior officers of the new regiment. No, I’ll go myself. (a loud crash of breaking dishes) Sweet little seventeena, Then there’s Countess Andronica who wants Ah, now what’s he done? (He goes in.) adorable Rosina… some chestnut tinting in her blond wig… Rosina (with a gesture toward Rosina) On to old Count Bombé who wears his quiff in Figaro Is something broken? I know it says Giannina, ringlets… Ah, if I could get my hands on that wretched but I always sing Rosina… Then I must take a laxative to the lawyer bunch of keys we’d be home and dry. Bartolo Her smile is so entrancing, Bernardone who has a stubborn case of (to Rosina, with emphasis) The clumsy oaf! one look and I am dancing… constipation… Tell me, is one of those the key which would I knew I couldn’t trust him. And then… it’s endless… why bother? open the window? (He dances. Figaro has entered and now comes (He goes out.) behind Bartolo and imitates him. Figaro has his ( putting the book back in his pocket) Rosina The Count (to Rosina) basin with him.) I can’t fit you in. That’s right, it’s the shiny new one. What would we do without him? Recitative Bartolo Bartolo (returning) Now that we’re alone, answer me, All right, let’s not discuss it: No, it’s too risky leaving her alone here with that my darling, are you willing to share my future Bartolo today I don’t want shaving. devil of a barber! and take me as your husband? 15 Bravo, Signor Figaro, oh, bravo. (He gives the keys to Figaro.) Figaro Be honest!… Figaro You can fetch what’s needed. Go down there to No? Damnation! Rosina (with enthusiasm) Oh, it was nothing. Sorry, I couldn’t help it. my room, open the cupboard you’ll find fresh Who do you think I am? Ah, my Lindoro, linen. Careful, don’t you go snooping! Bartolo I come this morning and the house is you are all I long for! pandemonium, and now you try to tell me: Figaro All right, just tell me why you’re here? (She composes herself as Bartolo and Figaro return.) ‘Today, impossible’. I am simply not prepared Me! Figaro to be messed about by you like a servant. I’m not nosey! (Terrific!) The Count Oh, really, I have come here to shave you. You’ll find another barber. Back in a moment. What’s happened? Today is your day. (He picks up the basin as if preparing to leave.) (Now things look quite rosy!) Bartolo Bartolo Me, I’m going home. Bartolo (to the Count) Everything’s broken! Today, impossible. Bartolo He’s the one – the one who delivered the letter, Six vases, eight crystal glasses, the soup tureen… Figaro ( putting the basin on the table and taking All right then, have it your own way. Rosina’s private postman. Figaro (He shows the Count the key to the balcony out a memorandum book) Oh, what a prima donna! The Count which he has taken from the ring.) Today impossible, tomorow impossible for me. Go and fetch me a towel, they’re in the cupboard. I wouldn’t trust him further than I could throw him. It could have been much worse!

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But I was lucky… Basilio Bartolo was it wise to leave your bed when you’re so I couldn’t see a thing in that damn passage. Peace and joy be yours forever. Yes, that is so. poorly? If I had not held onto this precious key Bartolo Basilio I’d have fallen with the contents of the cupboard Basilio (astonished) But I thought he was in bed. But Don Bartolo, enlighten me… on my head. With a fever? Why must you live in darkness? Rosina The Count (to Bartolo, interrupting) The Count And then, and then? My heart is filled with dread. I must tell you something quickly. You’ve surely noticed? (to Basilio) Bartolo The Count You are yellow, could be fatal. Don Basilio I’ll be with you. That will do! Now’s the time to use your head. Let me whisper in your ear! Basilio Figaro (to the Count and Rosina) Figaro You must tell him he should leave us, I am yellow? Let’s get on. Now’s the time to use your head. it would really be much better. Could be fatal. (Be careful.) Bartolo (astonished) Don Basilio, you’ve recovered? Rosina Figaro (feeling his pulse) Bartolo (He sits down to be shaved. At this I am trembling with fear. This is serious… moment Basilio enters.) Basilio Figaro (softly to Rosina) Things look bad… I’m ready. What do you mean? I’ll look after you, my dear! You are delirious… Figaro (interrupting) Heartbeat pounding, Scene 4 No time for talking. The Count face is red, Sir, Do you still want me to shave you, He knows nothing of the letter (Don Basilio and the others) it’s astounding, make your mind up, yes or no? or the reason I am here. you’re not dead, Sir. 16 Quintet Bartolo (to Figaro) Basilio This is clearly scarlet fever! Something strange is going on here, Rosina Wait a moment. Basilio what it is I’ve no idea. Don Basilio… (to Basilio) Scarlet fever! Eh… The Count Bartolo (softly to the Count) Your assistant… The Count (The Count slips a purse to Basilio.) This means trouble. You are right, it would be better, Basilio (astonished) we must get him out of here. You must linger here no longer. Figaro My assistant? This will help you feel much stronger, Now we’re for it… The Count take it with you home to bed. The Count (to Bartolo) With a fever, Don Basilio, Bartolo I told the Doctor that the whole affair was settled, (Figaro listens carefully, ready to back up the Figaro Aren’t you ill? did I not? Count’s story.) Off you go and put your feet up.

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The Count Basilio Bartolo Rosina Dim the lights and turn the heat up. Then I’m going! All right. At twelve o’clock precisely (Bartolo sits down. Figaro ties a towel around his I will be ready, waiting. Rosina, the Count, Figaro and Bartolo Rosina neck and gets ready to shave him, meanwhile Soon we’ll be celebrating Go then. Into bed and pull the sheet up. screening the two lovers.) because I shall be free. Bartolo The Count and Rosina Tighter! Quickly, quickly home to bed. Buona sera, Don Basilio. That’s excellent. The Count Darling, I think I’d better Rosina, the Count, Figaro and Bartolo Figaro The Count (Bartolo gets up and goes toward the lovers.) Quickly, quickly home to bed. Buona sera, Don Basilio. Rosina! warn you about your letter, Off you go and get well soon. Here, listen carefully. I showed it to Don Bartolo Basilio (astonished) so my disguise would fool him. Here’s some money?… Basilio Rosina To put my feet up… Buona sera, I’ll go home now I’m listening, whisper, I’m here. and come back this afternoon. Bartolo Are they all, can they be all in this together? (They sit down, pretending to study the music.) So my disguise would fool him? Rosina, the Count and Figaro Ah! Ah! Rosina, the Count, Figaro and Bartolo The Count (to Rosina, cautiously) He’s completely dessicated and decrepit. Caught you, the pair of you! Off to bed and put your feet up. This key is all we neded, Off you go now, Don Basilio, Don Alonso, bravo, bravi… our plan is going nicely. Basilio you must do what we have said. Peace and joy… At twelve o’clock precisely, I am not deaf yet, Quickly, quickly home to bed. You swindlers! I’ll come to set you free. I am going, Bartolo De-frauders! I will do what you suggest. Off you go now. Figaro (keeping Bartolo’s attention) Deceivers! Ahi! Ahi! Marauders! Figaro Basilio You liars, You look yellow! Yes I heard you. Bartolo you think you can beat me, What is the matter?… The Count Thank you, I’ll go home now you think you can cheat me, and come back this afternoon. You look so awful… Figaro deceive and mistreat me They have trapped the Doctor neatly. It is my eye, until I give in. Basilio Yes, I heard, no need to shout, I think there’s something in it. With all your surprises Do I really? I am going home to bed. D’you see it?… and clever disguises, The Count, Figaro and Bartolo Figaro No, don’t touch it! of all shapes and sizes, Yes, really dreadful! 17 Now then, Signor Don Bartolo. Try blowing, try blowing it instead. I’ll do you all in.

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Rosina, the Count and Figaro (after thinking it over) then Rosina loves a stranger, Basilio Don’t get in a temper, Ah! Don Basilio knows more than he has told me. young and old are both in danger, I am sure that fellow Alonso was the Count be quiet, dear Doctor, Hey! Do you hear? Are you there? love has made them lose their heads. himself in person. don’t make such a din. (Ambrogio and Berta enter from opposite sides.) But what is this strange condition Ah, Berta, now listen: quick, take a message that has made them all go mad? Bartolo Bartolo round to Don Basilio! Tell him I’ve got to see Love’s a grave indisposition, The Count! Get out of my sight, him and it’s extremely urgent… There are things its effects are always bad. Basilio or I’ll make you regret it. I must ask him. He’ll have to come here It’s a universal sickness, The Count. That bribe came from a rich man. Rosina, the Count and Figaro becasue… because I have confidential reasons. it’s an itch without a lotion, Bartolo Oh, stop it, do try to forget it. Go quickly now. a disease beyond all potion… Be that as it may… Right now we need the lawyer, Be quiet, dear Doctor, don’t make such a din. (Ambrogio goes.) Even I know love’s emotion, I’ll go to him this minute, that contract of He’s ranting and raving, (to Berta) for some mem’ries never fade. marriage must be ready this evening. he won’t even listen to what we have said. And Berta… stay there and guard the door, and How I envy all young lovers, It’s perfectly clear that he’s gone off his head. then… oh no… (I just can’t trust her) I’ll do the spinsterhood is so depressing Basilio We’ve had quite enough job myself! Oh, my fate is too distressing, The lawyer? Are you mad? It’s raining buckets, and we wish he’d drop dead. I must die a sad old maid. besides, he is busy this evening, he’s been booked Scene 6 by our friend Figaro. The barber is marrying off Bartolo (She goes out.) his niece. Get out of my sight, (Berta alone) or I’ll make you regret it. Scene 7 Bartolo Berta I’m bursting with rage and I’m bursting with fury, Marrying off his niece. What rubbish!… That 19 He wouldn’t trust his mother! (Don Bartolo brings in Don Basilio.) it’s perfectly clear that you wish I’d drop dead. damned barber hasn’t got a niece! There’s Go yourself then, You’ve driven me crazy and made me see red. Recitative something very wrong here. Those two villains I’ll be glad to see the back of you! must be plotting something new for tonight. Will there ever be a moment’s peace in this house? Bartolo Scene 5 Quickly, fetch the lawyer, we mustn’t lose a They’re quarelling or weeping, always something. 21 So this pupil Alonso, you’re sure you’ve never moment. (Bartolo, then Berta and Ambrogio) No, there’s no rest for the wicked met him. (giving him a key) with that old fossil causing such disruption, Recitative Basilio Wait! Here’s the key to get back in with: if you’re what a household, all confusion and corruption. quick, we might just foil their tricks. Bartolo Quite sure. 20 Aria 18 Things can’t get much worse. Bartolo (He goes.) But how…? Berta So that’s it. The Count must have sent him, Basilio I never suspected a thing! First the Doctor wants to marry, they must be planning something between them. Don’t you worry, I’ll be back in two ticks.

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Scene 8 I’ll show you! I’ll show you just what I am made Rosina Figaro of. Tell me, Signor, do you still wish that you Why does misfortune always seem to find me. She must be hiding… (Bartolo, then Rosina) and I should marry? (Rosina enters.) (She goes.) Bartolo Bartolo Ah, here she is. 22 By force or persuasion, Rosina has to marry me. Need you ask me? 23 Thunderstorm The Count (ecstatically) Good heavens!… I’ve just had an idea. At last, my angel! (He takes from his pocket the letter given to him by Rosina (Through the windows frequent flashes of lightning the Count.) All right, let’s do it. I’m yours… I accept you! are seen, and the sound of thunder is heard. After Rosina (pushing him away) Here is the letter, the one Rosina wrote to But we should hurry… At midnight that rogue the music Figaro and the Count appear, both Don’t touch me, Almaviva: it might just work. A brilliant Lindoro will be here to fetch me with his wrapped in wet cloaks. Figaro is carrying a you treacherous deceiver! inspiration! Don Alonso, you villain, you have accomplice Figaro… I promised I would run lantern.) I’ve come here to tell you just what I think of unwittingly pass’d me the perfect weapon. away and we’d be married… your behaviour and the way you have betray’d me. (Rosina comes out of her room without speaking.) Bartolo Scene 9 I’ll show you what I am made of and what kind of woman you’re losing. Hey! Rosina! Rosina, come here, child, a Oh, we must stop them! I’ll go and bar the door… (The Count and Figaro, later Rosina) moment. I have some news about your lover. Rosina How could you do it? Poor innocent young creature! The sad fact is… That will be useless! They’re coming through the Recitative Curses upon you! It’s clear he’s been trifling with your affections… window. Figaro The Count He finds your love amusing, something to laugh Bartolo 24 We’ve made it, so far so good. I don’t believe this! at when with another mistress: this serves to What? prove it. The Count Figaro Rosina Figaro, lend a hand. I don’t believe it either. (He gives the letter to Rosina.) They have the key. This wretched weather could not be less The Count Rosina Bartolo romantic! For pity’s sake! My letter! Who gave you that? Then I won’t budge from here! Rosina Wait! They might be carrying weapons… Now, Figaro Silence! Bartolo my dearest, since you’ve so sweetly put me in the Lovers don’t mind the weather!… You have been ordered to come here and abduct Don Alonso: he and the barber are planning to picture, here’s what we’ll do. Lock yourself in The Count me for your lecherous master Almaviva… abduct you, don’t let them do it. They’re hoping your bedroom while I call out the soldiers: I’ll to sell you to another; to the Count Almaviva. Ehi… Shine the light here. say that we have burglars… They’ll be arrested… (Figaro makes a light.) The Count Rosina We’ll have the last laugh. This should be Where will we find Rosina? Almaviva! Count Almaviva! I can’t believe it. Oh, Lindoro! entertaining! Now child, go to your room. I’ll be I see what’s happened! How you’ve betrayed me! I’ll get my own back! back directly. (looking around ) Ah, you poor darling…

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Look at me dear Rosina: The Count The Count Recitative there is no Lindoro, I’m Almaviva. Are you happy? Are you certain? Figaro 25 Trio Rosina Figaro 26 Ah! That’s all we needed! Rosina Ah, never happier. Yes, Signor. What can we do? Now forever we’ll stay united, Almaviva, not Lindoro! The Count The Count for such payment for such desiring. I’m astounded! Ah, heav’ns! Salvation! Is it two men?… Whatever’s happened? In my fondest imagination Ah, to find my love’s requited Figaro I could never believe this true. is a joy beyond compare. Figaro Yes, Signor. The ladder! Figaro The Count The Count They will see when they recover Let’s go now. Now forever we’ll stay united, The Count Well what?… it was all my inspiration, Sweet repayment for such desire. And with a lantern? Figaro with a little motivation Ah, to find my love’s requited Figaro The ladder has vanished. there is nothing I can’t do! is a joy beyond compare. In the doorway, yes, Signor… The Count The Count Figaro Rosina, the Count and Figaro Ah, Rosina! You mean it? Hurry. Let’s go now! What to do? What a triumph to discover ‘Ever!’ Hurry, let’s go now! Figaro such ecstatic, unknown elation! ‘Payment!’ Let’s get going. The Count I mean it, someone’s taken it… Ah, I feel such exhilaration. Hurry, hurry! Quickly, quickly! Quickly, quickly, softly, softly I could never believe this true! Let’s get going. down the ladder, hurry, hurry! The Count We are stranded, what now?… Rosina There’ll be time for all that later, If we’re quick no need to worry, But Signor… hurry up, I’m getting scared! we can safely slip away! Rosina How should I address you? Come along, come along, come along, The Count, Rosina and Figaro I’m so unlucky! I’m getting scared! Quickly, quickly, softly, softly Figaro The Count I’m afraid we’ll be discovered, down the ladder, hurry, hurry! Be quiet! Ah, my love, do not let my name distress you! get a move on, do take care. If we’re quick no need to worry, Someone’s coming! If you take me as your husband, Yes, yes! Get a move on. we can safely slip away! We’re caught red handed. that’s the only name I need! Ah! Disaster! Through the window, down the ladder, Think of something, Rosina I knew it! we can safely slip away! they’re getting near. What? The Countess Almaviva! In the doorway there is a lantern! This is happiness indeed! There are two men, what to do? (They go to leave by the window.) (He wraps himself in his cloak.)

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The Count Basilio Figaro and Basilio Figaro My Rosina, be brave. One moment, Don Bartolo’s not here?… Eviva! I love a happy ending, our plans have all succeeded. The Count (Drawing a ring from his finger, he (They go to the side.) Last Scene This lantern then is needed calls Basilio aside, signalling to him to be quiet.) to light their way no more. Figaro Hey! Don Basilio, take this ring and keep your (Don Bartolo, an Officer, soldiers and the others) Look out, they’re here. mouth shut. Bartolo Berta, Bartolo, Basilio and Chorus 28 Don’t move a muscle! Look, there they are! And may the happy couple be bless’d for evermore. Scene 10 Basilio But this is… (He points out Figaro and the Count to the Officer Rosina (Don Basilio enters with a lantern. With him is a and the soldiers and hurls himself at Figaro.) notary with a document in his hand.) The Count (drawing a pistol) So ends my lonely sadness You’d better, or you will get a bullet between the Figaro in unexpected laughter, Basilio (at the opposite side, whispering) eyes. Which would you rather? Take it easy, Signor. you’ll be forever after 27 Don Bartolo, Don Bartolo… the one that I adore. Basilio (taking the ring) Bartolo Figaro (to the Count) I’ll take the ring, where are the signatories? Those two, they’re robbers. The Count Don Basilio. Arrest them! The Count (signing) Lindoro loves Rosina and so does Almaviva, The Count All of us here: Officer my heart is in a fever Who’s with him? You are a witness, First things first… Sir, your name? Figaro can be the other. The Count I’ve never known before. Figaro (Basilio and the notary stop in surprise. The Now we are married. Count Almaviva in person. English translation © Amanda and Anthony Holden notary goes toward Figaro.) (As the Count is kissing Rosina’s hand, and as Well, well, my good friend the lawyer… 29 Finaletto II Couldn’t be better… Figaro is grotesquely embracing Basilio, Bartolo You leave it all to me! enters with the officer and the soldiers.) (Figaro, Berta, Bartolo, Basilio, Rosina, the Count, Chorus) How good to see you; Figaro you remember the appointment that we made Eviva! for this evening to perform the marriage of Count Almaviva to my niece?… The Count The couple happen to be here. You’re mine forever! I hope you’ve brought the contract with you?… Rosina (The notary shows the document.) I’ve never been so happy! That’s excellent! Yes, I am yours!

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Della Jones and Alan Opie

(English National Opera) Rafferty Bill

From English National Opera’s production of The Barber of Seville Bill Rafferty

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Opera in English on Chandos Opera in English on Chandos CHAN 3000(2) CHAN 3004 CHAN 3003 CHAN 3029 CHAN 3008(2) CHAN 3014(3)

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Opera in English on Chandos Opera in English on Chandos CHAN 3006 CHAN 3019(3) CHAN 3017(2) CHAN 3010 CHAN 3023(2) CHAN 3013

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Opera in English on Chandos Opera in English on Chandos

CHAN 3027(2) CHAN 3030(2)

CHAN 3011(2) CHAN 3005(2)

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You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected] website: www.chandos.net

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Staff Director: Henry B. Little

Producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Richard Smoker Editor Peter Newble Recording venue Goldsmiths College, London; 9–14 August 1994 Front cover Montage of photograph of Bruce Ford by Winnie Klatz and photograph of Lillie and Barbed Wire © Photonica by Rieder Walsh Back cover Photograph of Gabriele Bellini Design Cass Cassidy Booklet typeset by Dave Partridge Peter Rose Jennifer Rhys-Davies Publisher G. Ricordi & C SpA, Milan P 1995 Chandos Records Ltd C 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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M N E R P I 2000 Chandos Records Ltd CHAN 3025(2) Acts I Acts c COMPACT DISC ONE COMPACT COMPACT DISC TWO COMPACT 2-disc set bass bass tenor soprano baritone baritone baritone 1995 Chandos Ltd Records mezzo-soprano DIGITAL p Le Barbier de Séville Le Barbier CHANDOS (1792–1868) ...... Bruce Ford Ford ...... Bruce , music teacher and hypocrite Rose ...... Peter ...... Christopher Ross Ross ...... Christopher , Count Almaviva’s servant...... Peter Snipp , Count Almaviva’s , a doctor in Seville Shore ...... Andrew , ward of Doctor Bartolo of Doctor , ward Jones ...... Della , a barber ...... Alan Opie , Bartolo’s housekeeper...... Jennifer Rhys-Davies , Bartolo’s Berta An Officer Don Basilio Don Fiorello Figaro Gioachino Rossini Gioachino of Seville The Barber An opera in two acts Alberto edition by Zedda Critical after the play Sterbini Cesare by Libretto Beaumarchais by Amanda and translation by English Anthony Holden Count Almaviva Rosina and Chorus Orchestra Opera National English Bellini Gabriele Bartolo CHANDOS RECORDS LTD Colchester . Essex . England

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