Lightness of love

by Petar PLAMENOV

16 March (Wednesday), 18:00
Varna Opera and Philharmonic Association
Address:
Varna, 1 Nezavisimost Square
Working time: mon-fri 10:00–13:00, 14:00–18:00, sat 11:00–18:00
Phone: 052 66 50 22

Coductor: Ivan Filev
Cast: Arsenii Arsov, Ludmil Petrov, Galina Velikova, Svilen Nikolov, Delian Slavov, Valentin Grandev, Bojka Vasileva, Rosen Rangelov

Gioacchino Rossini’s much beloved opera The Barber of Seville (Il barbiere di Siviglia) is considered the most popular opera buffa (comic opera) of all-time. It is an italian opera with a libretto by Cesare Sterbini that is based on the first of a trilogy of plays written by french author Beaumarchais, Le Barbier de Séville. Barber of Seville was written in only three weeks (and with an overture that Rossini borrowed from the less successful opera, Aureliano in Palmira, the premiere of the opera was a total fiasco.

Accounts of the premiere speak of a loud and unrully audience and a series of accidents and mishaps onstage, including a problem with a trap-door and cat that wandered onto the set. The second performance, however was much better received, and the work has stood the test of time as one of the most performed operas in history. The opera, first performed in 1816 in Rome is set in Seville, Spain and in 2 acts.



Rossini’s opera is the second adaptation of Beaumarchais’ play of the same title. It so happened that Paisiello, a living composer in good local repute, had made an opera on the same subject thirty-six years before; and his admirers would not forgive the young Rossini for presuming to do better, or even differently. It was said that Paisiello looked confidently forward to Rossini’s failure, and was even prepared to help towards it himself. At any rate, the audience came primed for a row.

In operatic terms, The Barber of Seville is actually a sort of prequel. Beaumarchais' original play was the first in a series of dramas. The second one was The Marriage of Figaro, the source of Mozart's great opera from the XVIII century. The characters in Barber continue their story in Figaro. In fact, the Barber of Rossini's opera is Figaro — pre-marriage. Mozart's opera may have greater philosophical depth, and a more pointed social message, but it's hard to think of a more perfect operatic comedy than The Barber of Seville.



The music of this immortal opera work exhibits the composer in his gayest and most exhilarating mood, and sparkles with wit and fancy. Amongst his most familiar numbers are the Count’s serenade, Figaro’s celebrated description of his various duties, Basilio’s plotting aria, Rosina’s chamber aria, the ingenious dragoon finale of first Act, and the music-lesson. The delicate trio, "Zitti Zitti," is a much-appreciated number; but the melody of this is taken, note for note, from Simon’s air in Haydn’s "Seasons." The overture, as now played, was not originally composed for the opera, but had done varied service in other directions.

Rossini wrote "The Barber" to the commission of the manager of the Argentina Theatre, at Rome, where it was first produced in February 1816. According to contract, it had to be finished by a very near date, and for thirteen days poet and composer had scarcely time to eat, while they slept -- on a sofa -- only when they could no longer keep their eyes open. Rossini did not even stop to shave, and when some wit remarked on the strange fact the that "The Barber" should cause him to let his beard grow, he replied that to get shaved meant going out, and if he went out he would not return so soon as he ought. The statement, frequently made, that the entire opera was written in thirteen days is doubtfully correct, but the time was certainly within a month. Rossini declared that he received just £60 from the Argentina for the work. That sum did not compensate him, he said, for the agony he endured at the premiere.

 

 

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