Laralarela, laralará! say that I promised and today I will fulfill a promise I made in my previous post. And now comes the blog which is certainly the masterpiece, universal, timeless and eternal ... (I invite you to continue the series of praise) that was pesarense composer Gioachino Rossini . I am referring, of course, the celebrated Barbiere di Siviglia .
Speaking of the work that speak many will think you do not need a presentation, but because I know that in the blog come people are starting little by little in this world I think I need to do a proper investigation (call it that) I do with All works displayed on the blog for the first time. So before we start the recording, we present to Figaro and his troupe .
Opera Rossini number 17 would see the light for the first time on February 20, 1816, the Roman theater in Argentina. The libretto is the work of Cesare Sterbini, who had collaborated with the composer in his preceding opera: Torvald and Dorliska (if you are interested to know you have it available on the blog). It is based on the first part of the trilogy "figaresca" he wrote Beaumarchais. The opera is a musical predecessor: the same name that signed the composer Giovanni Paisiello. In fact, in order not to "hurt" or Paisiello or their followers, composer and librettist chose to present the work the title Almaviva, or sia, L'inutile precauzione . Involved in the English premiere Manuel Garcia in the part of Almaviva, Gertrude Righetti as Rosina, Luigi Zamboni as Figaro, Bartolo and Bartolomeo Botticelli as Zenobio Vitarelli as Don Basilio. Release The result was a failure. The chronicles the Bad luck sided so that things happen. And is that Vitarelli broke his nose before going to sing, a black cat crossed the stage, Garcia broke the string on the guitar while singing his serenade, the audience booed and was laughing the composer, etc. And this is how one of the masterpieces of opera reaps a disastrous premiere, which changed in the second representation, which achieved great success. Rossini anecdote that left the theater before the end of the representation and soon heard a commotion on his way to his residence. Thinking he wanted to attack him for his opera hid, although the reality was very different: what the public wanted was to congratulate him on his new work. And so begins the immortality of Barbiere, Rossini Opera only has not disappeared from the stage since she was born. It has been terribly abused and tampered with during the period of limbo Rossini (late nineteenth century, first half of the twentieth century) but has managed to stand the test of time with our heads held high until it reached the desired Rossini Renaissance and with it the voices ideal for the work before us. Vocally
the work is distributed as follows: Rosina is a comedic role for mezzo-soprano. Berta is a secondary role for soprano and his character is funny. With the role of Count Almaviva is given an ambiguous situation: it was designed for a baritenor and tradition has become a role contraltino. Figaro is an excellent example of role for a baritone singer. The character of Don Bartolo is a classic bass buffo, while that of Don Basilio is more suitable for low noble order to achieve greater contrast between the deep voices. The secondary roles are Fiorello Officer and comic character roles for bass.
And now let's go for the entertaining argument that exists for this site: Act I. We are in Seville. Still dark. Is a group of people who sneaks not to attract attention (Chorus: Piano, pianissimo, senza parlar). This is a charanga led by one Fiorello, servant of Count Almaviva, who has orders to wait in the street under a certain balcony. And the Count is in love with a girl who lives right there and very unimaginative, has decided to give a serenade. (Serenata: Ecco rident in heaven).
The man finishes singing his serenade and naively expected that his beloved swift and speedy exit to the balcony but really do not. Almaviva is discouraged but is persistent and will try again another way so I agreed to pay charanga, receiving too impulsive and loud appreciation from the musicians (Set: Mille grazie, mio \u200b\u200bsignore). When I finally
leave the musicians can hear a voice in the background. The count was asked about the identity of the person who comes over and decides to hide to watch. Then appears the individual in question, which happens to be the famous Figaro, barber and "factotum" of the city, which boasts of all that is capable of doing and what is requested. And is that being "factotum della città" enjoys great popularity (Aria: Largo al factotum della Città!).
Almaviva has been recognized on sight as, once, it was responsible. Going to meet her and Figaro also instantly recognizable, but the nobleman Please do not pronounce his name aloud. The reason is clear. I realize you are in Seville looking for a young girl who fell in Madrid while walking through the Prado. But there is one obstacle: his father does not allow anyone near her. The count is in luck. Figaro tells him that he exercises the profession of barber in that house, and man to live with it the girl is not your father, but his tutor. He also relates that a priest comes home to teach singing to the girl. They also live in the house Ambrogio and Berta, raised the tutor. The Count meets with complete attention to everything, and you should collect all possible information, but asks the barber from now will turn to it with the name "Lindoro." "Lindoro" Figaro's cousin is a poor student. The reason is that Almaviva wants the girl he falls in love with heart and not by their wealth. At this time, Figaro offers him a new song to serenade the girl, which agrees (Serenata: S'e voi il mio nome saper bramate). The girl, who is listening, begs the conclusion of the first verse to continue singing but at the end of the second one immediately sets it apart from the balcony and closed and bolted. However it has had time to throw a post by the window to count on showing some interest in him. This desperate
Almaviva and Figaro asked to help him enter the house. The Barber accepts in exchange for a bag of coins and offers an extraordinary plan: Sevilla has reached a regiment and the soldiers have the right to stay in any house in the city where they produce the appropriate order. It so happens that Almaviva happy to know that regiment colonel making it easy to get the order. Figaro for its part will provide a military outfit, while you are advised to pretend to be drunk and that way the tutor will not suspect anything. Once hatched the plan to prepare both leave everything (Duet: All'idea such di metallo).
Now we move to a room of the house and found it to Rosina, the young woman he is in love Almaviva. It has been fascinated with the serenade Count has given and gives us a very detailed idea of \u200b\u200bhow it is: she is an innocent girl and docile, but if someone does something and you can prepare the "victim" because it can turn into a snake (Aria: Una voce little fa .) Then
has lead to the emergence of Dr. Bartolo, which severely scold the poor girl, to which the subject has totally isolated at home. But the doctor is in love with his pupil and wants to marry her. Moreover, the dowry he would receive if the marriage would be attractively substantial. Here comes Don Basilio, who, besides being a music teacher and priest, is gossip. Comes with a story that puts the willies Guardian has come to town Count Almaviva and is rumored to round to the girl. Bartolo intends to discredit plotting a slander but the old man knows that his plan is. Don Basilio explains it clearly tired (Aria: The calunnia é a VENTICELL). The doctor is not convinced by the idea because he wants to end the issue as soon as possible and the idea of \u200b\u200bDon Basilio will take time to develop. Yet most have never come to an alternative plan.
Figaro, hidden, has heard it all and once it has left the duo goes after Rosina. After decorating the matter with a bit of intrigue, lets you know the girl that her cousin Lindoro is very fond of her and that is looking forward to seeing it, but it is necessary to write a letter that serves as proof that she is also interested in him. Figaro goes in search of pen and paper to write it down and Rosina, who knows it all, the neckline is drawn and written the letter. Figaro, surprised and amazed, praised the cleverness of the girl (Duet: Dunque io sono, your non m'inganni).
The Barber runs away but comes back Dr. Bartolo, who does not trust the girl. He asks if she has been with Figaro, and answered in the affirmative, stressing that it is a very nice boy and also very graceful. The doctor realizes that the girl's finger is stained Ink and this argues in his defense that he has been spotted on purpose to counteract the pain of a burn that was done. But Bartolo is suspicious and starts to investigate the room. On the one hand shows that in the table had six leaves and now there are only five, but Rosina, improvising, said to have used the remaining to wrap some candy for the daughter of Figaro. Don Bartolo realizes now that the feather is wet, a sign that you used. Rosina says he has used to draw a flower embroidery you are doing. Bartolo does not believe a word and you suspect something he does not know, so he orders the girl to lock yourself in your room and not leave there for nothing, because with a doctor of their condition can not play well (Aria: A dottor of sorte mia).
She is due to the grumpy old Bartolo be very angry. Suddenly he heard knocking on the door. Berta will open, and into a drunken soldier. That soldier is not only mean the count, who has already implemented the plan of Figaro. The presence of this soldier baffles Bartolo, but the alleged military informs him that he sleeps and teaches him the order he has achieved. A Bartolo him very uncomfortable situation and grumble about it. Meanwhile Almaviva looking for the girl, who, seeing the scene, he wonders what will where the tutor and a soldier. Is coming to look around and, in an unguarded moment the doctor, the Count reveals that he is Lindoro. The girl was alert and encourages it to be very careful. Bartolo
not willing to stay there a drunken soldier and lets him know that exclusion has a patent that gives right to the hotel, so it will look. Meanwhile, the count drops to the ground a letter and secretly asks Rosina to cover it with a handkerchief. The doctor, who has a keen eye, he notices and runs to see what happens. The count prevents catch but he is determined to see what this note. Rosina, very astute, able to change with a deft movement the letter list Wash and gives a Bartolo with all the innocence that one can imagine. When the tutor notes that it is actually the list is left with an inch of his nose. Meanwhile, Rosina and Almaviva laugh at him. At the time displayed Don Basilio and Berta, who remain extrañadísimos of all the hoopla that is being formed (Quintet: Ehi di casa!). Rosina
begins to whine and complains that the guardian who has oppressed. Almaviva draws his sword and goes in search of the doctor saying they will pay for what he has done. "But I have not done anything!" Says Bartolo. The mess is huge and at that time appears Figaro report that armed with such a commotion that you hear everything from the street. After a cross between Almaviva and Bartolo insults you hear knocking on the door: it is the guard, headed by a commissioner, who came there to see what happens. Everyone gives their version of events talking at once, which baffles the poor commissioner. The man to cut his losses, he decided to arrest the drunk but noble neck flap up and teaches him the insignia of Count Almaviva. The guard, being to a grandee of Spain, it is stable and further embarrass finished the hapless Bartolo, who is already on the verge of a stroke. (Final: freddo ed immobile).
The poor man gets out his courage to ask why are not there but the soldier does not get response. At this time all manifest the tremendous mess that sit on your head and in this atmosphere of general confusion ends Act I (Final: Mi par d'essere).
Act II. We in the house of Bartolo. Already dusk. The doctor says she has gone to the regiment and that no one knows the soldier that so many headaches it has caused. This makes it suspect and even almost sure that this soldier is not so, but an envoy of Count Almaviva in order to investigate on the spot. Bartolo makes his musings while someone calls back to the door. Open and Almaviva enters again, this time disguised as Don Alonso, a music teacher and a student of Don Basilio. "Don Alonso" salutes while wishes you peace and joy be with him for a thousand years, but insists on it so that the doctor has just getting nervous from time to listen (Duet: Pace e gioia sia with voi).
"Don Alonso" tells Bartolo Don Basilio is sick and he goes to his place to give singing lessons to the girl. Don Bartolo is fit to go to see Don Basilio immediately but the count for the feet. At this time, to earn the trust of the doctor, and informing him that Don Basilio knows nothing about what is going to count, gives Rosina the letter she sent in the act I. He says he has given the count and that is very worrying that someone Rosina round that way. For this reason Bartolo intends to use the card to make Rosina feel cheated and end up in the arms of the guardian. Faced with such convincing arguments Bartolo is satisfied and goes in search of the young to start singing lesson. The girl comes to see "Don Alonso" gives a little cry, as it recognizes when her beloved. The doctor is amazed at the reaction of Rosina, but it leaves the grounds that proper step has been hurt in the foot.
starts singing lesson and Bartolo bored and falling asleep. At that time Almaviva to Rosina takes to say do not be afraid, for he, with the help of Figaro, the rescue. Bartolo wakes and end with the lesson (Aria: Contro one cut). The guardian did not like anything the aria that have been tested and says that music in his time was different. To prove sings a minuet of a famous Castratte, Caffariello (Arietta: Quando sei vicina me).
Figaro arrives to shave Bartolo Don but he refuses because the day does not play well shaved and not fancy, so I asked to come back the next day. Figaro says no power going to be because its waiting list is very bulky. Bartolo reluctantly agrees and gives the keys to go to find what is necessary, when the wily barber takes to steal the key from the room balcony for Rosina. Figaro, to draw attention the doctor, everything that can strip the floor. Bartolo swift and quick up to see what has broken. The Count takes the time to tell Rosina that Figaro is the key to the balcony and that soon will come to kidnap her, which the girl full of joy. Return
Bartolo blaspheming pests because half Figaro has broken crockery. At that time Don Basilio arrives, which puts the heart in the mouth to Rosina, Almaviva and Figaro and Bartolo makes it strange. The doctor asks if you feel better but Don Basilio do not know what to say do not understand the meaning of that question. Tells Almaviva Bartolo quietly not to talk too much, because the cleric knows nothing of the plan who are aged right hands and you never know because otherwise everything would complicate. Therefore, it is best to get him out of there ASAP. Don Bartolo's response was encouraging: "Do not worry, I miss it right now." Figaro announced the cleric who has very bad side and you are diagnosed with scarlet fever, to which all are horrified but still do not get to leave. Almaviva given a "medicine bag", which turns out to be nothing but a bag of gold coins, and begs her to stay in bed. Don Basilio, with such a "remedy", he is convinced and decides to go to the relief of those present (Quintet: Don Basilio! Vegg Thing!).
Figaro calls Don Bartolo shaving and begins its work. Almaviva meanwhile says the girl who will go after him at midnight and do not be afraid, because no one will recognize you with your costume. Unfortunately, the doctor will listen, "your disguise? Bravo, Bravissimo Don Alonso. Peace? "Joy? Rascals! Fool! "Are his words. Figaro, Rosina and Almaviva have no choice but to run out of the room (Trio: Orsua, signor Don Bartolo). Bartolo
understand at that moment that everything that Don Alonso had told him about Don Basilio was uncertain, confirming cure himself, who has returned to the place. Seeing that his plans to marry Rosina agrees to marry danger that night with his pupil and asks Don Basilio, who go to midnight again with a notary for the link.
all go there and Berta appears saying that love is a problem. She is old but despite his age also feel that little itch that is love (Aria: Il moglie vecchioto around.)
Rosina is already dark and eagerly awaiting the arrival of the scheduled time. But Don Bartolo goes in search of the girl and tells her that this Don Alonso was none other than an envoy of Count Almaviva, and that leaving him will be given the profligate noble. To prove all the tutor gives you the letter that "Don Alonso" gave at the beginning of the act. Rosina is outraged and betrayed. Therefore, confesses to his mentor the "rapture" is performed at midnight and consents to marry him, which makes Bartolo takes the first and only joy of the whole opera.
a storm broke out then and while it pours see as Almaviva and Figaro enter through the balcony stairs and the key that had previously stolen. There they find the girl, who has come to communicate to both that he has no intention of leaving with Almaviva. The count is happy about it because I understand that she really was in love with the humble "Lindoro" and then discovers his true identity, which is surprising the girl. Rinse all, the trio decided to leave them because Figaro has seen two persons entering the house but can not escape because someone has removed the ladder (Trio: Ah, qual colpo). Don Basilio now comes with a notary, who are those two people who had seen the barber. Don Basilio Almaviva has a ring ... and step two shots if a witness refuses to make the link between Rosina and him. Don Basilio accepts without hesitation and made the link.
Then Don Bartolo arrives accompanied by the commissioner and ordered to detain Figaro and Almaviva, to which it defined as thieves. But little can be done: Almaviva Bartolo confesses his real name and the doctor is amazed. He calls cease to resist, because it can not do anything: Rosina is treating you and know better. To please the tutor gives him the full amount of dowry (Aria: Cessa di piu Resistire). Bartolo acknowledges his faults and bless the couple, something that brings joy to everyone. And in this atmosphere of general joy, complete opera (Final Say if felice innesto).
Regarding alternative arias and added, in the Barbiere found two cases. They are:
La mia pace, mine quiet. This is an aria that serves as an alternative to "Contro one cut," Rosina's singing lesson. Rossini thought that the part could involve difficulties the interpreters of the role, why he wrote a new lesson, easier than the first. In this piece, as in the original, Rosina takes the singing lesson for Almaviva implicitly confessing to her love for him. Half of the composition, the brief dialogue with Almaviva is similar to the original lesson. Ah
are seeing che è in that moment. This is an aria that is added just before the storm scene. Rossini composed it when he changed the tessitura of the role of a mezzo soprano in honor of the singer Joséphine Fodor-Mainvielle. His music was taken from the aria of Sigismondo at the end of Act II of the opera the same name. Dr. Bartolo just to tell Rosina that the alleged kidnap Lindoro want just to take it to his master, Count Almaviva. After the disappointment the girl, who is still unaware that Lindoro Almaviva disguise himself, asking God for help, expect everything to be a slander and that his beloved is innocent.
As regards autopréstamos, Rossini operas comes to some prior to devise the music of his new work. These are as follows:
The cambiale di marriage. Fanny's aria in La cambiale di marriage ("Vorrei il spiegar giubilo") saves a great similarity with the part of Rosina in her duet with Figaro in Act I of Il Barbiere di Siviglia ("Dunque io sono").
La Pietra's paragone. The Tempest Act II of the two titles are similar.
Aureliano in Palmira and Elisabetta, regina d'Inghilterra . The overtures are similar.
Aureliano in Palmira . The melody that accompanies the chorus that starts with Aureliano in Palmira ("the great Sposa Osiride") is similar to that which accompanies the entrance aria of Almaviva in Il Barbiere di Siviglia ("Ecco rident in heaven.") The Arsaces cabaletta great scene in Act II of Aureliano in Palmira ("Non lasciarmi in this moment") is similar to the cabaletta Rosina entrance aria in Act I of Il Barbiere di Siviglia ("Io sono docile"). Sigismondo
. The chorus to Act II begins in Sigismondo ("In a segreto che ci chiama") has the same melody as the beginning of Act I of Il Barbiere di Siviglia ("Piano, pianissimo senza parlar.") Ladislao and duo act I Aldimira Sigismondo ("Perchè obbedir disdegni") is similar in some time the aria of Don Basilio's Act I of Il Barbiere di Siviglia ("The calunnia è a VENTICELL").
All this information (and for the rest of the operas of Rossini corpus) you can find it in my book "Gioachino Rossini • More than Il Barbiere" .
And to all you need here to introduce us to the crux of the matter. Now if you will, we will launch recording. This is a very recent record, as is already yesterday. You can see all the data in the information sharing:
Rosina: Elina Garanca
Almaviva: José Manuel Zapata
Figaro: Franco Vassallo
Bartolo: Bruno Pratica
Don Basilio: Peter Rose
Berta: Jennifer Check
Official: Mark Schowalter
Fiorello: John Moore
Ambrogio: Rob Besserer
Metropolitan Opera Orchestra and Chorus · Frédéric Chaslin
These functions constitute the debut of José Manuel Zapata in the New York arena. In this performance I have heard occasional hesitant about its interpretation, for example in the "Cessa di più resistere." Removing this "but", Zapata gives us a strong and noble, and no hint Almaviva of coldness, which both the viewer and listener thanks (thank you, listen to the voice and his "It il mio nome.") Have there been things that could have gone better? Yes would be not telling the truth if one said to the contrary. The singers are human and have better days and worse days. I say that the above functions were better in this field vocal. I believe it blindly. Elina Garanca also debuts at the Metropolitan and literally looks like Rosina. With everything that was said. It is said, it is rumored that these functions would be his farewell to the role ... The booming voice of Franco Vassallo , though I missed more nuance in the role: In this aspect Figaro you can get much game and not always pull the funniest aspect of the character. This is precisely what makes Bruno Pratica with Bartolo. I have to say that increasingly reminds me of overacting that Corena was fifty years ago in his recordings and functions of the work. And that's not good. Quite the contrary: it is a mistake. Right, but flat and coarse, Peter Rose as Don Basilio and well Jennifer Check as Berta. While the rest of the cast. And bright Frédéric Chaslin the front of the orchestra. Grand Concert: he has instilled the great vitality score.
Taking I offer has been made by a server. The sound is extraordinary. The recording will, as usual, edited and fragmented into tracks. Here are the links:
CD1, Part
CD1, Part
CD2, part
CD2, part
Nothing more for now! You enjoy the opera Rossini summit.
As is clear from its name, these tunes are far more friendly from the point of view of difficulty that your calculator partner. We are facing a far less ambitious pieces and considerably less time. However, they are worthy of contempt. On the contrary, are good examples of the work of composer Manuel Garcia in another musical facet: a facet of the well-known opera singer and songwriter now joins the other gender. 
As is clear from its name, these tunes are far more friendly from the point of view of difficulty that your calculator partner. We are facing a far less ambitious pieces and considerably less time. However, they are worthy of contempt. On the contrary, are good examples of the work of composer Manuel Garcia in another musical facet: a facet of the well-known opera singer and songwriter now joins the other gender. 
