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The Barber of Seville Presenting Partner GIOACHINO ROSSINI THE BARBER OF SEVILLE PRESENTING PARTNER VICTORIAN OPERA PRESENTS THE BARBER OF SEVILLE SEMI-STAGED CONCERT IN TWO ACTS Composer Gioachino Rossini Librettist Cesare Sterbini Conductor Richard Mills AM Director Elizabeth Hill-Cooper Costume Realisation Kate Glenn-Smith Lighting Designer Peter Darby Associate Director Laura Hansford CAST Count Almaviva Brenton Spiteri Doctor Bartolo Warwick Fyfe Rosina Chiara Amarù Figaro José Carbó Don Basilio Paolo Pecchioli Fiorello / Ambrogio Stephen Marsh Berta Kathryn Radcliffe Officer Darcy Carroll Orchestra Victoria 12, 14 DECEMBER 2019 Melbourne Recital Centre, Elisabeth Murdoch Hall Original premiere 20 February 1816, Teatro Argentina, Rome Approximate timings: Act One 85 mins / Interval 20 mins / Act Two 65 mins Sung in Italian with English surtitles José Carbó (Figaro) 3 PRODUCTION ORCHESTRA PRODUCTION TEAM CELLO BASSOON Section Principal Section Principal Production Manager Eduard Inglés Melissa Chominsky Lucinda Cran Stage Manager Laura Hansford Associate Principal Associate Principal Diane Froomes Matthew Ockenden ≠ Sarah Cuming Principal Contrabassoon CONCERTMASTER MUSIC STAFF Philippa Gardner Timothy Murray Yi Wang * Tania Hardy-Smith Principal Repetiteur and Continuo Phoebe Briggs HORN DEPUTY CONCERTMASTER Andrea Taylor § Section Principal Repetiteur Phillipa Safey Roger Jonsson § DOUBLE BASS Jasen Moulton Erica Kennedy * Section Principal Chair supported by Mr Robert Albert AO RFD RD and Mrs Elizabeth Albert ENSEMBLE VIOLIN Stuart Riley Principal Third Principal 1st Violin Chair supported by Don and Angela Mercer Linda Hewett Tenor Yi Wang Associate Principal Sydney Braunfeld § Principal 2nd Violin Carlos E. Bárcenas Kylie Davies + Monica Naselow Robert Shirley + Alastair Cooper-Golec Matthew Thorne Associate Principal 1st Violin TRUMPET Michael Dimovski Tomomi Brennan § FLUTE Section Principal Associate Principal 1st Violin Douglas Kelly Section Principal Mark Fitzpatrick Erica Kennedy Lisa-Maree Amos Associate Principal Rebecca Adler Chair supported by Peter Griffin AM Bass / Baritone Anthony Pope Binny Baik and Terry Swann TIMPANI Darcy Carroll Alyssa Conrau ** Associate Principal Karen Schofield § Section Principal Rachel Gamer Stephen Coutts Rebecca Johnson ++ Guy du Blêt Matthew Hassall ** Chair supported by Igor and Jenny Oliver Mann Rachael Hunt OBOE Zambelli with Libby and Jim Cousins AO Section Principal Kiran Rajasingam Philip Nixon PERCUSSION Joshua de Graaf * John Noble Section Principal Principal Cor Anglais ACKOWLEDGEMENTS Chris Ruiter Mathew Levy Lucy Warren Dafydd Camp Chair supported by Ms Linda Herd Associate Principal Surtitles courtesy of Opera Australia Tony Zhai Scott Weatherson + Stephanie Dixon + VIOLA CLARINET Section Principal Section Principal Paul McMillan Paul Champion Associate Principal Associate Principal Nadine Delbridge * * Acting Justin Beere § ** Acting Associate Principal Jason Bunn § Chair supported by Susan and Leith § On Leave Catherine Bishop Campbell + Guest Musician ++ Guest Associate Principal Cora Teeuwen + Lloyd Van’t Hoff + ≠ Courtesy of Opera Australia Orchestra 4 5 WELCOME DIRECTOR’S NOTE When Rossini revealed The Barber of Seville to the world in Rome in 1816, he gave It is with great pleasure that we welcome you to Victorian Opera’s final audiences not only a great night in the theatre, but also a great essay on the power presentation for 2019, The Barber of Seville. This work has so much to offer – great of love and its capacity to change lives. tunes, comic characters, a farcical storyline, and some fabulous singing and orchestral playing. The opera does not require elaborate and exotic settings – its meaning, its dramatic process and its sparkling joy live in the music, so a production that makes The moral of the tale is ‘love conquers all’, but the journey to get there takes singing and music its focus, in the framework of a simple manifestation which some interesting turns along the way. To accompany me along this journey, I references the mobilities of commedia dell’arte has been our choice for these am ever grateful to my colleagues Laura Hansford, our Associate Director, and performances in Launceston and Melbourne. Peter Darby, our Lighting Designer. Both these individuals bring a fresh and often thought-provoking point of view to be considered. It is always a true collaboration, The wonderful Sicilian mezzo-soprano Chiara Amarù makes her Australian debut, and in the end the results are far greater with three keen heads of ideas rather alongside another great Italian artist, basso cantante Paolo Pecchioli. They are than just one. I am indebted to their generous contributions and guidance. joined by some of our finest established and emerging singers in this repertoire: José Carbó, Warwick Fyfe and Brenton Spiteri. Stephen Marsh and Kathryn It goes without saying that without a great leader, the path can lead you anywhere! Radcliffe complete an ensemble tasked with revealing and revelling in the follies With Richard Mills, our path is very clearly defined and always interesting to tread. of the human condition: exploring the pathways of the heart given to us by a I can’t thank him enough for all his support and expertise. What a special year the composer whose unconditional love for humanity shines forth in every bar he Victorian Opera family has enjoyed. The company is lucky to have you at the helm, wrote. Maestro Mills. Enjoy. Please join us again in 2020 when we continue to demonstrate our capacity for great music, brilliant productions and the excellence of singing at the highest level. Come as you are, as we reimagine the potential of opera and music theatre, for RICHARD MILLS everyone. Artistic Director and Conductor ELIZABETH HILL-COOPER Chief Executive Officer and Director 6 7 SYNOPSIS ACT ONE ACT TWO Rosina is serenaded by the Count Assuming another disguise, the Count Almaviva who is disguised as Lindoro, a enters the house dressed as Don Alonso, poor student. He keeps his true identity a substitute music teacher for Rosina as secret as he wants Rosina to love him, Don Basilio is ‘unwell’. During the music unaware of his rank and wealth. Doctor lesson, Don Alonso reveals that he is Bartolo, Rosina’s guardian, plans to Lindoro. He and Rosina express their love marry her himself. for each other and make plans to escape. Figaro, former servant of the Count Bartolo decides to hasten his own and a regular employee in Bartolo’s wedding to Rosina, and orders Don residence, is enlisted to help the Count Basilio to organise a notary so that he get into the house to make contact with can marry Rosina at midnight. Bartolo Rosina. then tells Rosina that Lindoro has been deceiving her and he is acting on behalf In the meantime, Bartolo has heard that of the Count. Rosina is heartbroken and Count Almaviva is in town and, worried agrees to marry Bartolo. that he will steal Rosina away from him, moves his wedding to her to the Later that evening during a violent storm next day. Figaro learns of the Doctor’s the Count and Figaro break into Bartolo’s intentions and devises a plan. house through the balcony window. Rosina, angry that she has been deceived, The Count arrives pretending to be a confronts Lindoro. The Count reveals his drunken soldier billeted at Bartolo’s true identity, and the lovers are reunited. residence, but Bartolo sees through his Figaro urges them to escape before ploy and refuses the Count entry. The Bartolo catches them. To their horror, situation heats up and the local police they discover that Bartolo has moved the arrive to restore the peace, arresting ladder from the balcony, thwarting their the Count. Amidst the commotion, the escape. Count manages to slip Rosina a note before whispering his identity to the Don Basilio returns to the house with officers, who immediately release him. the notary who is to marry Rosina and Bartolo. After some threats and bribes, Basilio is convinced to witness the marriage of Rosina and the Count. Bartolo arrives too late, and he must admit that he has lost Rosina to the Warwick Fyfe (Doctor Bartolo) and Count Almaviva. Paolo Pecchioli (Don Basilio) 8 BIOGRAPHIES RICHARD MILLS ELIZABETH HILL-COOPER BRENTON SPITERI Conductor Director Count Almaviva Richard is one of Australia’s Elizabeth began her career Formerly a Young Artist at most prolific and as a classical ballet dancer Opéra de Lyon, Brenton internationally recognised with West Australian Ballet. Spiteri has performed for composers. He pursues a Moving into choreography the majority of Australia’s diverse career as composer, and directing, she discovered state opera companies and conductor and artistic her love of opera. symphony orchestras. His director, with an extensive She has created or restaged roles include Tamino (The discography of orchestral productions for several Magic Flute), Almaviva (The works including his own state opera companies and Barber of Seville), Ashley compositions. He has held Opera Australia. Her credits Crowther (Fly Away Peter), numerous prestigious include: Fledermaus, The Rinuccio (Gianni Schicchi), posts, and received many Gypsy Princess, The Tales of Telemaco (The Return of scholarships, fellowships Hoffmann, My Fair Lady, The Ulysses), Ernesto (Don and awards including an AM Pirates of Penzance, Rusalka, Pasquale) and Soldato/ in 1999. Currently Artistic Lakme and Arabella. Elizabeth Mercurio (The Coronation of Director of Victorian Opera, regularly collaborates with Poppea). He recently created he was previously Artistic Stuart Maunder and Roger the title role in Oscar and Director of West Australian Kirk. Lucinda, a performance that Opera 1997–2012, Director of Joining Victorian Opera in Australian Book Review the Australian Music Project 2012, Elizabeth has directed described as ‘remarkable’. for the Tasmanian Symphony mainstage productions such He currently holds the Gwen Orchestra 2002–2008 and as Pelleas and Melisande and Catley Opera Scholarship at Musica Viva’s Composer was the company’s Executive the Guildhall School of Music of the Year in 2008. This Producer from 2014 - 2019. and Drama, and the Australia year Richard has conducted She was appointed Victorian Council’s Marten Bequest Victorian Opera’s Parsifal, The Opera’s CEO in May.
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