Who wrote The Barber of Seville author. The history of the creation of G. Rossini's opera "The Barber of Seville"

At first the opera was called Almaviva, or A futile precaution"("Almaviva, ossia l'inutile precauzione"). Rossini gave his work this title because the opera “ Barber of Seville, or Useless Precaution" had already been written - its author was Giovanni Paisiello, and it had long been popular on opera stage. In addition to Paisiello, by that time L. Benda (1782), I. Schultz (1786), N. Izouar (1797) and others had written operas based on the plot of “The Barber of Seville”.

Rossini in 1816 undertook to write a new opera for the Teatro Argentino in Rome for the Carnival. However, censorship prohibited all librettos that were proposed by the composer. There was very little time left before the carnival, and then it was decided to use a censored theme. This is how the idea of ​​“The Barber of Seville” arose. Rossini turned to Paisiello for permission, and he responded with kind consent, without doubting the failure of the young composer’s opera. The new libretto was written by C. Sterbini. Rossini composed quickly. But the speed with which The Barber of Seville was written (the composer used many of his previous works) is amazing. Composition and instrumentation took 13 days.

Action 1

Scene 1.Musicians gathered on the streets of Seville to accompany the young Count Almaviva as he serenaded his beloved, Rosina. This is a charming flowery cavatina (“Ecso ridente in cielo” - “Soon the east will shine brightly with golden dawn”). But all efforts are fruitless. The musicians fail to call Rosina: she is strictly looked after by the old doctor Bartolo. The irritated count and his servant Fiorello send the musicians away.

Figaro. Sculpture by Jean Amy

And now we hear a joyful baritone behind the stage. This is Figaro, the barber, humming for his own joy and telling us how necessary he is to everyone in the city. This boast is the wonderful cavatina “Largo al factotum” (“Place! Spread wider, people!”). It quickly becomes clear that Figaro has known the Count for a long time (there are not many people in the city whom Figaro does not know). The Count - with the amount of money in his hands - enlists Figaro to help him arrange his marriage to Rosina, and they begin to develop a plan of action. But their discussion is interrupted by Dr. Bartolo coming out of the house, he mutters that he himself intends to marry Rosina today. The Count and Figaro hear this.

Now both conspirators decide to act quickly. Taking advantage of Bartolo's absence, Almaviva starts the serenade again and this time introduces himself as Lindor (the melody of this canzona belongs to Vincenzo Bellini). Rosina answers him favorably from the balcony and suddenly quickly leaves, hearing someone’s steps in her apartment. The inventive Figaro immediately figures out what to do: Almaviva will dress up as a soldier and, as if drunk, enter the house with the words that his regiment is stationed in the city and he will live here. The count likes this idea, and the scene ends with a cheerful duet in which the loving count expresses his joy at the prospect of success of the whole undertaking, and the barber rejoices at the success of the project, which is already generating income.

M. Karakash as Figaro (1913)

Scene 2. Now events are unfolding quickly and violently. They take place in the house of Dr. Bartolo. Rosina sings her famous coloratura aria “Una voce poco fa” (“In the silence of midnight”). In it, Rosina for the first time confesses her love for the unknown serenader Lindor, then vows to belong to him forever, despite the guardian who is disgusted with her, with whom she will be able to cope. She continues to talk about what a wonderfully submissive wife she will be if she is not contradicted. Otherwise, she intends to become a true devil, a vixen. (Usually in modern productions this part is sung by a coloratura soprano. However, Rossini wrote it differently. He intended it for a coloratura mezzo-soprano, quite rare in the 20th century.) After the aria, she has a short but cordial conversation with Figaro, the barber, and less cordially - with Dr. Bartolo.

Productions in Russia

The first production in Russia took place in 1821 in Odessa, the performance was in Italian.

For the first time in Russian (translated by R. Zotov), ​​the opera was staged on November 27, 1822 in St. Petersburg with the participation of Grigory Klimovsky (Almaviva), Ivan Gulyaev (Bartolo), Vasily Shemaev (Figaro), Nymphodora Semyonova (Rosina) and Alexei Efremov (Don Basilio ).

After a break, the opera was resumed on the St. Petersburg stage in 1831. O. Petrov - Figaro, N. Dur - Bartolo, A. Efremov - Basilio, S. Borkina (Karatygina) - Rosina. In subsequent performances, the roles were performed by: L. Leonov - Almaviva, E. Lebedeva, M. Stepanova - Rosina.

In addition, the opera was constantly included in the repertoire of the Italian opera troupe in St. Petersburg. In particular, in 1843 Pauline Viardot performed as Rosina.

Subsequently, “The Barber of Seville” was repeatedly staged by opera houses in Moscow and St. Petersburg.

The first clavier with Russian text was published in Moscow by Peter Jurgenson in 1897. Subsequently, the clavier was published several times by the Moscow publishing house "Muzgiz" (for example, in 1932, 1956 and 1982).

Performances at the Mariinsky Theater

On October 13, 1882, the premiere of “The Barber” took place at the Mariinsky Theater, conducted by E. F. Napravnik. The parts were performed by: Count Almaviva - P. A. Lodiy, Rosina - M. A. Slavina, Figaro - I. P. Pryanishnikov, Bartolo - F. I. Stravinsky, Don Basilio - M. M. Koryakin.

On March 6, 1918, at the now former Mariinsky Theater in Petrograd, the a new version performance (conductor Pokhitonov, director Tartakov, artist Konstantin Korovin) The performance included: Count Almaviva - Rostovsky, Rosina - Volevach, Figaro - Karakash, Don Basilio - Serebryakov, Bartolo - Losev, Fiorello - Denisov, Berta - Stepanova.

Performances at the Bolshoi Theater

Performers of the main roles on the day of the premiere at the Bolshoi Theater (1913)

IN Soviet time The opera was staged at the Bolshoi Theater several times. In 1935 - new production created by conductor Steinberg, director L. V. Baratov, artist Makarov. Count Almaviva - Sergei Lemeshev, Rosina - Valeria Barsova, Figaro - Alexander Golovin, Don Basilio - Alexander Pirogov.

During the Great Patriotic War Some changes were made to the performance “to suit the needs of the day.” According to the memoirs of tenor Anatoly Orfenov:

In “The Barber of Seville,” which was shown quite often and with my participation, when the knock of the soldiers who came to Bartolo’s house was heard, Basilio asked: “Alarm?”, to which Bartolo, after the second knock, answered: “No, it’s lights out” (that is, cancellation air raid). Warriors in auditorium They greeted this element of relaxation, some temporary fun they needed, with enthusiastic applause, after which they returned to the front again.

During the evacuation Bolshoi Theater in Kuibyshev, The Barber of Seville was one of the first operas to be restored by the theater. The production of The Barber, along with Aida and other foreign operas, “to the detriment of domestic works", gave rise to criticism of the management and personnel changes at the Bolshoi Theater.

However, already in 1944, the opera was staged once again on the stage of the Bolshoi Theater (conductor Nebolsin, director Zakharov, artist Makarov). Another production appears in 1953. During this period, The Barber of Seville featured: Almaviva - Ivan Kozlovsky, Bartolo - Vladimir Malyshev, Rosina - Vera Firsova, Figaro - Ivan Burlak, Don Basilio - Mark Reisen. In 1952, with this composition and the All-Union Radio Orchestra, conductor Samuil Samosud made a recording that is still available to listeners today.

Performances in other theaters

On the pre-revolutionary stage, “The Barber of Seville” was staged at the New Opera (Moscow) - conductor V. Suk; Count Almaviva - I. S. Tomars, Figaro - O. I. Kamionsky, Don Basilio - A. P. Antonovsky, Bartolo - O. R. Fuhrer.

1933 - Opera theatre named after Stanislavsky, Moscow (translated by P. Antokolsky, trio of the 2nd act taken from the opera “The Barber of Seville” by Paisiello; production by K. S. Stanislavsky, directors Alekseev, V. Vinogradov and Stepanova, conductor Khaikin, artist Nivinsky, choirmaster K. Vinogradov; Count Almaviva - Smirnov, Rosina - Vozdvizhenskaya, Figaro - Mokeev, Don Basilio - Panchekhin, Bartolo - Stepanov). Renewed in 1944.

Some performers

Musical numbers

• Rosina's Cavatina is performed by Frosya Burlakova in the Soviet film Come Tomorrow.

Famous audio recordings

• - conductor Samuil Samosud, choir and orchestra of the All-Union Radio (USSR)

• - conductor Alceo Galliera, London Philharmonic Orchestra (Italy)

• - conductor Vittorio Gui, Glyndebourne Opera Festival Choir, Royal Philharmonic Orchestra (UK)

• - conductor Neville Marriner, Ambrosian Opera Chorus, orchestra of the Academy of St. Martin in the Fields (UK)

• - conductor Bruno Campanella, orchestra and choir Royal Theater in Turin, Nuova Era (Italy)

• - conductor Claudio Abbado, choir of the La Fenice theater (Venice), Chamber orchestra Europe (Italy)

The premiere took place on February 20, 1816 in Rome.
The plot is based on the comedy of the same name by the famous French playwright Pierre Beaumarchais.

The action takes place in Seville in the 18th century. Young Count Almaviva wants to serenade his beloved Rosins to the accompaniment of musicians. He has been in love with a girl for a long time, which she doesn’t even suspect. But all efforts are in vain. The girl's old guardian with his servant Fiorello they drive everyone away. The voice of a cheerful barber is heard Figaro.

Figaro's aria is sung by the magnificent Tito Gobbi

They have known each other for a long time Almaviva. Figaro happily agrees to help the Count free his beloved from the hated tutelage of the old doctor Bartolo, who, among other things, planned to marry Rosina. Almaviva is again in front of his beloved's balcony.

He introduces himself simple guy by name Lindor, whose only wealth is his love for Rosina. The girl is so tired of Bartolo’s tutelage that she is ready to run away with almost the first person she meets. Rosina develops a sincere sympathy for Lindor.

Meanwhile Don Basilio(music teacher) adds fuel to the fire.

The Great Chaliapin sings Don Basilio's aria "Slander"

He tells Dr. Bartolo that Count Almaviva is in town and has plans for Rosina. Dr. Bartolo is furious. He wants to marry Rosina himself as soon as possible. At this time, Figaro manages to talk with the girl.

Rosina's Cavatina is sung by Vera Firsova, soloist of the Bolshoi Theater in the 70s.

She delivers the letter for Lindor, and then tries to talk her mouth to her guardian.

But Dr. Bartolo orders her to lock herself in her room. Now a young, loving count is trying to get into the house. Portraying a drunken soldier who is supposedly stationed in this house, he screams and swears. However, he manages to make it clear to Rosina that he is Lindor. With each passing second, the turmoil unfolds more and more until all the heroes are on the stage.

A patrol patrol bursts into the house, attracted by the noise. But the disguised count manages to evade arrest. The situation is tense to the limit. The first act ends. In the second act, Figaro and Almaviva arrange several more meetings with Rosina, where they agree on an escape.

Almaviva then decides to confess to Rosina that he and Lindor are the same person. Rosina is happy. And now, when everything is almost decided, it turns out that they cannot get out of the house. The music teacher Basilio and the notary appear. They are waiting for Bartolo to register the marriage of the old guardian and the young ward. Count Almaviva quickly resolves the situation: he offers Basilio a choice - a ring or two bullets. Basilio reluctantly chooses the ring.

The marriage ceremony is barely over when Dr. Bartolo returns, accompanied by an officer and soldiers. And now, finally, everything is finally becoming clear. The old guardian resigns himself to the outcome of events only after he learns that Almaviva does not need Rosina's dowry. The comedy ends with a general reconciliation in best traditions opera buffa.

One cannot help but recall the magnificent performance of cavatina Rosina by Ekaterina Savinova in the film “Come Tomorrow”!

History of creation

In 1816 Gioachino Rossini started working on a new opera for the upcoming Carnival for the Teatro Argentino. Many themes that inspired the composer to write the opera did not pass the censor's test. When there was very little time left, Rossini decided to use the already resolved theme. And so the idea of ​​writing a new one was born "The Barber of Seville".

Duet of Rosina and Figaro. Anna Netrebko sings

Moreover, Rossini personally addressed the author of the previous "The Barber of Seville" Giovanni Paisiello for permission to begin work. He answered kindly and affirmatively (of course, because he never doubted the future failure of the young composer). Rossini composed music quite quickly. Work on the work took a record short term- only 13 days were spent on writing and instrumentation. On February 20, 1816, the opera premiered. The first performance was unsuccessful - the audience suddenly “boomed” as a sign of rejection of the work. However, subsequent performances were a great success. Further fate "The Barber of Seville" triumphant. The work was destined to become one of the best operas in the history of the comedy genre. Even ardent critics of Rossini's work found great satisfaction in the opera.

And this is Muslim Magomayev singing Figaro’s Cavatina!

The Barber of Seville has everything that is best about Italian opera buffa: fast-paced dynamics storyline, an abundance of comic scenes, life characters heroes. It is worth noting that Gioachino Rossini had an outstanding talent - to entertain with music itself, without words. Such features of the musical part as cheerfulness and a cheerful mood retained the ardent love of the public for the work for many years.

Interesting facts:

• The opera did not immediately acquire the name “The Barber of Seville”. At first the composer called her"Almaviva, or Vain Precaution", since at the time of publication the opera entitled “The Barber of Seville” had already been written by the composer Giovanni Paisiello and had big success on the opera stage. In addition, many operas were written on the same plot. And yet, they say that Paisiello's followers (perhaps even instigated by the 75-year-old man) made a fuss at the premiere of Rossini's opera and the performance was a failure. Giovanni Paisiello himself died 3.5 months after the premiere of Almaviva and never learned that Gioachino Rossini’s The Barber of Seville had completely eclipsed his creation, which remained popular in opera circles for more than thirty years.
• The composer created the opera in literally two weeks thanks to the fact that he used fragments of his earlier creations. For example, the overture contains melodies from the operas “Elizabeth, Queen of England” and “Aurelian in Palmyra”.
• 
  
• Overture to the opera
• During the Great Patriotic War, “topical” changes were made to the Russian libretto of the opera. At the moment when the soldiers knocked on Bartolo’s house, Basilio asked: “Alarm?”, and Bartolo answered after the second knock: “No, it’s lights out.” The signal to cancel the air raid warning was greeted by the soldiers with enthusiastic applause. This release was vitally important to them. After all, after a short period of fun, they were forced to go to the front again.
• In 1947 opera "The Barber of Seville" was filmed directed by Mario Costa.

An excerpt from the British puppet cartoon "The Barber of Seville", 1995.

The premiere took place on February 20, 1816 in Rome.
The plot is based on the comedy of the same name by the famous French playwright Pierre Beaumarchais.

The action takes place in Seville in the 18th century. Young Count Almaviva wants to serenade his beloved Rosins to the accompaniment of musicians. He has been in love with a girl for a long time, which she doesn’t even suspect. But all efforts are in vain. The girl's old guardian with his servant Fiorello they drive everyone away. The voice of a cheerful barber is heard Figaro.

Figaro's aria is sung by the magnificent Tito Gobbi

They have known each other for a long time Almaviva. Figaro happily agrees to help the Count free his beloved from the hated tutelage of the old doctor Bartolo, who, among other things, planned to marry Rosina. Almaviva is again in front of his beloved's balcony.

He appears to be a simple guy named Lindor, whose only wealth is his love for Rosina. The girl is so tired of Bartolo’s tutelage that she is ready to run away with almost the first person she meets. Rosina develops a sincere sympathy for Lindor.

Meanwhile Don Basilio(music teacher) adds fuel to the fire.

The great Chaliapin sings Don Basilio's aria "Slander"

He tells Dr. Bartolo that Count Almaviva is in town and has plans for Rosina. Dr. Bartolo is furious. He wants to marry Rosina himself as soon as possible. At this time, Figaro manages to talk with the girl.

Rosina's Cavatina is sung by Vera Firsova, soloist of the Bolshoi Theater in the 70s.

She delivers the letter for Lindor, and then tries to talk her mouth to her guardian.

One cannot help but recall the magnificent performance of cavatina Rosina by Ekaterina Savinova in the film “Come Tomorrow”!

History of creation

In 1816 Gioachino Rossini started working on a new opera for the upcoming Carnival for the Teatro Argentino. Many themes that inspired the composer to write the opera did not pass the censor's test. When there was very little time left, Rossini decided to use the already resolved theme. And so the idea of ​​writing a new one was born "The Barber of Seville".

Duet of Rosina and Figaro. Anna Netrebko sings

Moreover, Rossini personally addressed the author of the previous "The Barber of Seville" Giovanni Paisiello for permission to begin work. He answered kindly and affirmatively (of course, because he never doubted the future failure of the young composer). Rossini composed music quite quickly. Work on the piece took a record short time - only 13 days were spent on writing and instrumentation. On February 20, 1816, the opera premiered. The first performance was unsuccessful - the audience suddenly “boomed” as a sign of rejection of the work. However, subsequent performances were a great success. Further fate "The Barber of Seville" triumphant. The work was destined to become one of the best operas in the history of the comedy genre. Even ardent critics of Rossini's work found great satisfaction in the opera.

And this is Muslim Magomayev singing Figaro’s Cavatina!

“The Barber of Seville” has all the best that can be found in Italian opera buffa: the rapid dynamics of the storyline, the abundance of comic scenes, the vital characters of the characters. It is worth noting that Gioachino Rossini had an outstanding talent - to entertain with music itself, without words. Such features of the musical part as cheerfulness and a cheerful mood retained the ardent love of the public for the work for many years.

Fun facts:

• The opera did not immediately acquire the name “The Barber of Seville”. At first the composer called her"Almaviva, or Vain Precaution", since at the time of publication the opera entitled “The Barber of Seville” had already been written by the composer Giovanni Paisiello and was a great success on the opera stage. In addition, many operas were written on the same plot. And yet, they say that Paisiello's followers (perhaps even instigated by the 75-year-old man) made a fuss at the premiere of Rossini's opera and the performance was a failure. Giovanni Paisiello himself died 3.5 months after the premiere of Almaviva and never learned that Gioachino Rossini’s The Barber of Seville had completely eclipsed his creation, which remained popular in opera circles for more than thirty years.
• The composer created the opera in literally two weeks thanks to the fact that he used fragments of his earlier creations. For example, the overture contains melodies from the operas “Elizabeth, Queen of England” and “Aurelian in Palmyra”.
• 
  
• Overture to the opera
• During the Great Patriotic War, “topical” changes were made to the Russian libretto of the opera. At the moment when the soldiers knocked on Bartolo’s house, Basilio asked: “Alarm?”, and Bartolo answered after the second knock: “No, it’s lights out.” The signal to cancel the air raid warning was greeted by the soldiers with enthusiastic applause. This release was vitally important to them. After all, after a short period of fun, they were forced to go to the front again.
• In 1947 opera "The Barber of Seville" was filmed directed by Mario Costa.

An excerpt from the British puppet cartoon "The Barber of Seville", 1995.

On the night street of Seville, dressed as a modest bachelor, Count Almaviva waits for the object of his love to appear in the window. A noble nobleman, tired of court licentiousness, for the first time wants to win the pure, unbiased love of a young noble girl. Therefore, so that the title does not overshadow the person, he hides his name.

The beautiful Rosina lives locked up under the supervision of an old guardian, Dr. Bartolo. It is known that the old man is in love with his pupil and her money and is going to keep her imprisoned until the poor thing marries him. Suddenly, on the same street, a cheerfully humming Figaro appears and recognizes the Count, his old acquaintance. Promising to keep the count incognito, the rogue Figaro tells his story: having lost his position as a veterinarian due to his too loud and dubious literary fame, he tries to establish himself as a writer. But although all of Spain sings his songs, Figaro cannot cope with the competition, and he becomes a wandering barber. Thanks to his incredible wit, as well as worldly wisdom, Figaro perceives sorrows philosophically and with constant irony and charms with his gaiety. Together they decide how to free Rosina, who is reciprocally in love with the count, from captivity. Figaro enters the house of the furiously jealous Bartolo as a barber and doctor. They plan that the count will appear dressed as a drunken soldier with an appointment to billet at the doctor's house. Figaro himself, meanwhile, will incapacitate Bartolo’s servant using simple medical means.

The blinds open and Rosina appears at the window, as always with the doctor. Allegedly by accident, she drops a sheet of music and a note for her unknown admirer, in which he is asked to reveal his name and rank in singing. The doctor runs to pick up the sheet, but the count is quicker. To the tune of “A Vain Precaution,” he sings a serenade in which he calls himself the unknown Bachelor Lindor. Suspicious Bartolo is sure that the sheet of music was dropped and allegedly blown away by the wind for a reason, and Rosina must be in conspiracy with a mysterious admirer.

The next day, poor Rosina is languishing and bored, imprisoned in her room, and tries to figure out a way to deliver the letter to “Lindor.” Figaro had just “treated” the doctor’s household: he bled the maid’s leg, and prescribed sleeping pills and sneezes for the servants. He undertakes to deliver Rosina’s letter and, in the meantime, overhears Bartolo’s conversation with Basil, Rosina’s music teacher and Bartolo’s main ally. According to Figaro, this is a distressed swindler, ready to hang himself for a penny. Basil reveals to the doctor that Count Almaviva, who is in love with Rosina, is in Seville and has already established correspondence with her. Bartolo, horrified, asks to arrange his wedding the very next day. Count Basil proposes to slander Count Rosina. Basil leaves, and the doctor rushes to Rosina to find out what she could be talking about with Figaro. At this moment, the Count appears in the uniform of a cavalryman, pretending to be tipsy. His goal is to identify himself as Rosina, give her a letter and, if possible, stay in the house for the night. Bartolo, with the keen instinct of a jealous person, guesses what intrigue lies behind this. A funny skirmish takes place between him and the imaginary soldier, during which the Count manages to hand a letter to Rosina. The doctor proves to the count that he is freed from duty and kicks him out.

The Count makes another attempt to enter Bartolo's house. He dresses up in a bachelor's suit and calls himself Basil's student, who is kept in bed by a sudden illness. The Count hopes that Bartolo will immediately invite him to replace Basil and give Rosina a lesson, but he underestimates the old man’s suspicion. Bartolo decides to immediately visit Basil, and in order to keep him, the imaginary bachelor mentions the name of Count Almaviva. Bartolo demands new news, and then the count has to report on behalf of Basil that Rosina’s correspondence with the count has been discovered, and he is instructed to give the doctor Rosina’s intercepted letter. The Count is in despair that he is forced to give the letter, but there is no other way to earn the old man’s trust. He even offers to use this letter when the moment comes to break Rosina’s resistance and convince her to marry the doctor. It is enough to lie that Basil’s student received it from one woman, and then confusion, shame, and annoyance can drive her to a desperate act. Bartolo is delighted with this plan and immediately believes that the count was really sent by the scoundrel Basil. Under the guise of a singing lesson, Bartolo decides to introduce the imaginary student to Rosina, which is what the count wanted. But they cannot be alone during the lesson, because Bartolo does not want to miss the chance to enjoy his pupil’s singing. Rosina performs a song from “A Vain Precaution” and, slightly altering it, turns the song into a love confession to Lindor. The lovers are playing for time to wait for Figaro to arrive, who will have to distract the doctor. Finally he arrives, and the doctor scolds him for the fact that Figaro crippled his household. Why, for example, was it necessary to put poultices on the eyes of a blind mule? It would be better for Figaro to return the debt to the doctor with interest, to which Figaro swears that he would rather be Bartolo’s debtor all his life than to renounce this debt even for a moment. Bartolo responds by swearing that he will not give in in an argument with the impudent man. Figaro turns his back, saying that, on the contrary, he always yields to him. And in general, he just came to shave the doctor, and not to plot intrigues, as he deigns to think. Bartolo is in a quandary: on the one hand, he needs to shave, on the other, he cannot leave Figaro alone with Rosina, otherwise he will be able to give her the letter again. Then the doctor decides, in violation of all decency, to shave in the room with Rosina, and send Figaro to get the device. The conspirators are delighted, since Figaro has the ability to remove the key to the blinds from the ring. Suddenly the sound of breaking dishes is heard, and Bartolo runs out of the room screaming to save his device. The Count manages to make an appointment with Rosina in the evening to rescue her from captivity, but he does not have enough time to tell her about the letter given to the doctor. Bartolo and Figaro return, and at that moment Don Basil enters. The lovers are in silent horror that now everything could be revealed. The doctor asks Basil about his illness and says that his student has already passed on everything. Basil is at a loss, but the count quietly puts a wallet in his hand and asks him to remain silent and leave. The count's compelling argument convinces Basil, and he, citing ill health, leaves. Everyone gets down to music and shaving with relief. The Count declares that before the end of the lesson he must give Rosina the last instructions in the art of singing, leans towards her and in a whisper explains his changing clothes. But Bartolo sneaks up on the lovers and eavesdrops on their conversation. Rosina screams in fright, and the count, having witnessed the doctor’s wild trick, doubts that with such oddities of his, Senora Rosina will want to marry him. Rosina, in anger, vows to give her hand and heart to the one who will free her from the jealous old man. Yes, Figaro sighs, the presence of a young woman and old age are what make old people lose their minds.

Bartolo, furious, runs to Basil so that he can shed light on all this confusion. Basil admits that he has never seen the bachelor, and only the generosity of the gift forced him to remain silent. The doctor does not understand why he had to take the wallet. But at that moment Basil was confused, and in difficult cases gold always seems to be an irrefutable argument. Bartolo decides to exert his last efforts to possess Rosina. However, Basil does not advise him to do this. After all, having all kinds of benefits is not everything. To receive pleasure from owning them is what happiness consists of. Marrying a woman who doesn't love you means exposing yourself to endless difficult scenes. Why do violence to her heart? And besides, Bartolo replies, it’s better that she cries because he is her husband than for him to die because she is not his wife. Therefore, he is going to marry Rosina that same night and asks to bring a notary as soon as possible. As for Rosina’s tenacity, the imaginary bachelor, without meaning to, suggested how to use her letter to slander the count. He gives Basil his keys to all the doors and asks him to quickly bring a notary. Poor Rosina, terribly nervous, waits for Lindor to appear at the window. Suddenly the steps of her guardian were heard, Rosina wants to leave and asks the annoying old man to give her peace at least at night, but Bartolo begs him to listen. He shows Rosina's letter to the count, and the poor thing recognizes him. Bartolo lies that as soon as Count Almaviva received the letter, he immediately began to brag about it. It allegedly came to Bartolo from a woman to whom the count presented the letter. And the woman told about everything in order to get rid of such a dangerous rival. Rosina was to become a victim of a monstrous conspiracy by the count, Figaro and the young bachelor, the count's henchman. Rosina is shocked that Lindor, it turns out, won her not for himself, but for some Count Almaviva. Beside herself with humiliation, Rosina invites the doctor to marry her immediately and warns him of the impending kidnapping. Bartolo runs for help, planning to ambush the Count near the house in order to catch him as a robber. Poor, insulted Rosina is left alone and decides to play a game with Linder to see how low a person can fall. The blinds open and Rosina runs away in fear. The Count is only concerned about whether the modest Rosina will think his plan to get married immediately is too daring. Figaro advises then to call her cruel, and women love to be called cruel. Rosina appears, and the Count begs her to share the poor man's lot with him. Rosina indignantly replies that she would consider it happiness to share his bitter fate, if not for the abuse of her love, as well as the baseness of that terrible Count Almaviva, to whom they were going to sell her. The Count immediately explains to the girl the essence of the misunderstanding, and she bitterly repents of her gullibility. The Count promises her that since she agrees to be his wife, he is not afraid of anything and will teach the vile old man a lesson.

They hear it open Entrance door, but instead of a doctor and guards, Basil and a notary are shown. A marriage contract is immediately signed, for which Basil receives a second wallet. Bartolo and the guard rush in, who is immediately embarrassed when he learns that it is a count in front of him. But Bartolo refuses to recognize the marriage as valid, citing the rights of a guardian. They object to him that, having abused his rights, he has lost them, and resistance to such a respectable union only indicates that he is afraid of responsibility for the mismanagement of his pupil’s affairs. The count promises not to demand anything from him except consent to marriage, and this broke the stubbornness of the stingy old man. Bartolo blames his own negligence for everything, but Figaro is inclined to call it thoughtlessness. However, when youth and love conspire to deceive an old man, all his efforts to prevent them can be called a vain precaution.

Barber of Seville

But the blue evening is getting dark,

It's time for us to go to the Opera quickly:

There is delightful Rossini,

Europe's darling - Orpheus.

Not heeding harsh criticism,

He is forever the same, forever new,

He pours sounds - they boil,

They flow, they burn,

Like young kisses

Everything is in bliss, in the flame of love,

Like boiling Ai

Golden stream and splashes...

A. S. Gunsn

These enthusiastic lines from “Eugene Onegin” surprisingly accurately reflect all the charm of Rossini’s music, its youthful freshness and beauty.

Rossini was a universal idol; Not many composers gained such enormous popularity during their lifetime. “After the death of Napoleon, there was another person who was constantly being talked about everywhere: in Moscow and Naples, in London and Vienna, in Paris and Calcutta. This man’s fame is limited only by the boundaries of civilization, and he is only 32 years old.”, Stendhal, an ardent admirer of his talent, wrote about Rossini. Many were proud to know Rossini. Liszt showed him his works, Weber, Wagner, Saint-Saens sought meetings with the Italian maestro; the latter wrote in the late 1850s that “all of Paris clamored for the honor of being received in his luxurious apartment with high windows”. Among the visitors to his living room were famous composers: Aubert, Meyerbeer, Gounod, Thomas, Verdi. At Rossini's ceremonial evenings one could hear brilliant singers and outstanding virtuosos: Grisi, Patti, Nilsson, Tamburini, Tamberlik, Anton Rubinstein, Joachim, Thalberg. “Constant flattery surrounded the maestro,” recalled the composer Saint-Saëns, “but it did not touch him at all, for he knew its value, and towered over the environment around him by the superiority of his mind, which he showed, however, not in front of everyone.”. Sensitive and attentive contemporaries saw in Rossini a deep, insightful and observant man, with a subtle, sharp mind, keenly interested in the world around him; they saw in him a great artist who understood

new problems of art and its evolution, although defending its aesthetic ideals. I. V. Stasov reported about Rossini in a letter to Glinka: “I found in him that artistic soul, beautiful and simple...”. And R. Wagner, after a conversation with Rossini in 1860, said: “I must admit that of all the musicians I met in Paris, he is the only truly great one!”

In 1868, when Rossini died, Verdi bitterly told one of his friends: “A great name has died out in the world! It was the most popular name our era, the widest fame - and this was the glory of Italy!. The life and creative path of G. Rossini is as unusual as his unparalleled success: a rapid rise to the heights of fame, and then for about thirty years - almost complete silence.

Rossini's first stage work to see the light of the stage was the musical farce "The Marriage Bill". He brought to the young author fame, he soon began to receive orders for buffa operas from the theaters of Bologna, Venice, and Milan. His music, brilliant and witty, quickly captivated the Italian public. But wide recognition came to Rossini only after the production of “Tancred” and “The Italian Woman in Algiers” in 1813 - they made him the favorite of Northern Italy, and two years later he conquered Naples, staging the opera “Elizabeth, Queen of England” there.

In the autumn of 1815, Rossini went to Rome to work on a new opera, Torvaldo and Dorlisca, but even before its premiere, the impresario of one of the Roman theaters invited him to compose an opera buffa. The search for a plot began; Finally, the composer settled on the comedy of the famous French playwright Beaumarchais, “The Barber of Seville.” The responsibility was enormous: back in 1782, Paisiello created his opera on the same plot in St. Petersburg, and for more than three decades it was fully revered by music lovers in Italy.

The libretto of the opera was commissioned to be written by C. Sterbini. The work proceeded quickly, music was composed in parallel with the text, and in approximately nineteen to twenty days the opera was completed.

Rosina-Adeline Patti

Rosina - Montano

Rosina - Giulietta Simionato, Bartolo - Melchiore Luisa. La Scala Theater, 1952.

The librettist preserved the plot and Spanish flavor of Beaumarchais's work, but weakened its ideological orientation. From politically spicy play he created a cheerful Italian comedy of manners, albeit democratic, with anti-clerical motives and clearly defined characters.

The premiere of “The Barber of Seville” took place on February 20, 1816, with outstanding singers of that time singing: Rosina - Geltrude Righetti-Giorgi (Rossini’s childhood friend), Count Almaviva - Manuel Garcia, Figaro - Luigi Zamboni. At its first performance, The Barber of Seville was a complete failure. The audience screamed and whistled... The upset composer left the theater without waiting for the end of the performance. Intrigues, and perhaps admirers of Paisiello, could not allow the recognition of a new opera created on the same plot, although Rossini, anticipating hostile attacks, at the first performances called it “Almaviva, or a Vain Precaution.” But when the passions subsided and at the next performance the audience listened carefully to all the music, they were delighted with it.

The opera continued to be performed with great success. One of the newspapers in Rome wrote: “If at the premiere “The Barber of Seville” did not meet with approval from the public, then the second time and at subsequent performances it was appreciated and aroused such enthusiasm that the whole theater shook with “Evviva!” at the address of Maestro Rossini. He was called to the stage several times and finally led home by torchlight!”. The success of The Barber of Seville eclipsed all the composer's previous triumphs. New Opera began its victorious march through many European cities: a year after the premiere it was performed in Barcelona, ​​in 1818 in London, then in Paris and Vienna, and in 1822 it was staged in St. Petersburg.

The opera takes place in Seville. The young Count Almaviva became infatuated with the lovely young Rosina and is ready to marry her. But her guardian, old Doctor Bartolo, himself intends to conclude marriage contract with his pupil. The smart, inexhaustible barber Figaro comes to the aid of the count. Thanks to his entrepreneurial spirit, young lovers achieve their happiness. The opera opens with a magnificent overture, full of fiery brilliance and energy. This overture was composed for the unsuccessful opera Aurelian in Palmyra, then the composer transferred it to Elizabeth, Queen of England. At that time, overtures were not associated musical material with operas, and Rossini decided to use the old overture, which in its character turned out to be close to the comedic and exciting intrigue of The Barber of Seville.

The main character of the opera is Figaro, an undoubted “descendant” of the smart, resourceful servants of Italian folk comedy. His first appearance on stage with an incendiary cavatina, bright, temperamental, close to the impetuous folk dance tarantella, captivates and captivates. Musical characteristics Figaro does not change throughout the action. Figaro is dexterous, energetic, mocking, and sometimes even worldly thoughtful - this is how he is in duets with the Count, Rosina or in scenes with Bartolo. True, Figaro’s energy is not directed towards any lofty goals. The barber in the opera is not endowed with deep human qualities as a hero of a comedy, there is neither bitterness of disappointment nor doubt in him, and if in Beaumarchais he is a typical native of the lower classes, striving by all means to get to a higher rung of the social ladder, then in Rossini Figaro is more unambiguous, he confidently looks forward and lives every moment of the present.

Rosina - R.G. Gorskaya.

Don Basilio - P.M. Zhuravlenko.

Leningrad Opera and Ballet Theater named after S.M. Kirov.

Count Almaviva is different from the one in Beaumarchais's comedy. He is revealed lyrically - he is an ardent lover (canzone of Act I), although as the action progresses, the count transforms himself either into a drunken soldier or into a music teacher, and then his melody from smooth and plastic becomes either “rough” or “piously-humble” "

Renaissance

The graceful, flirtatious Rosina (aria of Act II) is charming, but her graceful cantilena also has decisive intonations - she is persistent and knows how to fight for her happiness. The role of Rosina, written for contralto, is virtuosic and difficult to perform. It was her image that was subjected to the greatest criticism at the premiere: it was noted that it lacked the “naivety and modesty” of a young girl. Subsequently, the role of Rosina began to be performed by coloratura sopranos.

The least changes, compared to the comedy, were in the opera's images of Doctor Bartolo and Don Basilio - the old monk, a skilled intriguer. The guardian is presented throughout in a comedic sense - in the form of a greedy old man who serves as a target for the antics and witticisms of Figaro and the Count. It brings to mind images of the old grumps of the commedia dell'arte being fooled by the servants.

Don Basilio is superbly outlined - the embodiment of meanness and corruption; his musical characterization is close to Beaumarchais's character. The entire appearance of Basilio and the famous aria “Slander” expose the falsity of the morality of the privileged classes. The role of Don Basilio was performed with great skill by the outstanding Russian singer F. I. Chaliapin, who managed to reveal the acute grotesqueness of this image.

In The Barber of Seville, Rossini especially emphasized all the comedic aspects of the plot, which caused the inclusion of additional scenes and episodes that brightly highlight the lyrical numbers. At the beginning of the opera, he introduced a connection with the musicians, which not only gave Almaviva the opportunity to sing a wonderful serenade, but also unfold a comedic episode of reckoning with the musicians and their “noisy” gratitude. The second scene includes the scene of Almaviva appearing as a drunken soldier, and all the commotion. associated with this results in an expanded ending. The scene from the third film is wittily written: the Count, dressed as a bachelor, greets Doctor Bartolo. This insignificant episode of comedy grew into a large comic number, one of the best in the opera - the monotonous nasal voice of the bachelor and the answers of the irritated Bartolo are interrupted by an amusing patter. And if the libretto contained the journalistic moments of Beaumarchais’s comedy, Rossini made up for them with vitality. the realism of typical Italian images, creating a brilliant national opera buffa.

But the most amazing thing about The Barber of Seville remains the ensembles - the centers of the musical and stage action, especially the finale of the first act. It combines diverse, rapidly changing episodes; the music sensitively conveys unexpected turns actions, behavior of characters, shades of mood. Rossini's operas are especially characterized by his famous crescendos - grandiose increases in sonority in ensembles. They literally hypnotized listeners. It is interesting to note that in the finale of the second act, Rossini used the melody of the Russian folk dance song “Oh, why fence the garden.”

Scene from the play.

Leningrad Opera and Ballet Theater named after S.M. Kirov

Rossini's vocal style is distinguished by integrity and richness, melodic pomp, and bright ornamentation. Rossini was a master of bel canto, that wonderful art of singing. in his words, “one of the most beautiful gifts of the Italians!”

"The Barber of Seville" was admired by music lovers and professional musicians: “...Rossini is an artist who creates under the impulse of true inspiration, imbued with an idea and who has found an expressive, elegant and charming form for this idea,” wrote the Russian musical critic G. A. Laroche.