by GIOACHINO ROSSINI

“It will be played as long as Italian opera exists.”
—Ludwig van Beethoven

Il barbiere di Siviglia, or “The Barber of Seville,” is considered one of the greatest comic operas ever composed. Denis Garnhum's clever production sets the action on a movie backlot in Seville in a large warehouse that contains all the props and costumes of a movie studio. The year is 1940. Spanish movie star, Rosina, is kept captive by Bartolo, her agent and owner of the studio, who is out for her cash. Count Almaviva, a nobleman, has been in love with her onscreen and off and now follows her to the studio. Add to this mix a talented barber hired for the day's shooting, throw in a chorus of movie extras, and you're in for some backstage antics fueled by love and passion

Enjoy the delicious unfolding of comic opera at its best, brilliantly encased in Rossini's deservedly famous music.

Sung in Italian with English and Spanish projected titles

Photo © Timothy Matheson for Vancouver Opera

Synopsis

Act I Scene 1

In a movie studio in 1940s Seville, Count Almaviva serenades the star Rosina with the help of a chorus of movie extras. When there is no response from Rosina's dressing room, he sends the movie extras on their way. Figaro, the studio stylist, approaches. Almaviva tells Figaro of his obsession with Rosina and Figaro reveals that Rosina's agent, the hated yet powerful studio owner Bartolo, schemes to marry Rosina himself in order to get his hands on her wealth.

Almaviva resumes his serenade. Using a costume from the movie studio, he tells Rosina he is a poor student named Lindoro. Rosina, immediately smitten, sneaks out of her dressing room and declares her devotion to "Lindoro" before her guard pulls her back inside. Figaro suggests that Almaviva now disguise himself as a drunken soldier in order to gain admittance to the dressing room.

Act 1 Scene 2

In her dressing room, Figaro helps Rosina dress for her next scene in the movie, then hides when he hears Bartolo approaching. Rosina's music coach, Basilio, arrives and informs Bartolo that Almaviva is looking for Rosina. Basilio, who is also the studio photographer, suggests a campaign of slander against Almaviva. Bartolo asks for a marriage contract to be drawn up between him and Rosina immediately.

After shooting her scene, Rosina returns to her dressing room, where Figaro encourages her to write a note to "Lindoro." In his drunken soldier disguise, Almaviva gains access to the dressing room, where he whispers to Rosina that he is actually Lindoro. Bartolo and Basilio attempt to get rid of him but he refuses to leave and slips Rosina a letter, which she surreptitiously replaces with a laundry list. The extras appear from the soundstage and pandemonium ensues.

Intermission

Act II

Almaviva approaches Bartolo, this time disguised as a music teacher called in to replace the sick Basilio. He soon gains the trust of Bartolo as Figaro watches the plan unfold. Figaro steps in to give Bartolo a shave and steals a key that will enable Almaviva and Rosina to escape.

Basilio appears unexpectedly but Almaviva bribes him into playing along with the plot. Even so, Bartolo is suspicious and attempts to rush his marriage to Rosina by sending Basilio to find a notary. Bartolo then persuades Rosina that the student Lindoro has actually been working for Almaviva. Confused and upset, Rosina declares that she will elope with Lindoro that night. Almaviva and Figaro break in through the rooftop of the studio. Almaviva confronts Rosina and reveals his true identity, proclaiming his love for her. Basilio returns with the notary, but after more bribery agrees to witness Rosina's marriage to Almaviva. Bartolo, initially furious, soon calms down when Almaviva is revealed. Happiness abounds at the end of the day.