Children must be at least six years old to attend.
Miami performances are at the Sanford and Dolores Ziff Ballet Opera House at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, 1300 Biscayne Boulevard, Miami.
Fort Lauderdale performances are at the Au-Rene Theater at the Broward Center for the Performing Arts, 201 SW 5th Avenue, Fort Lauderdale.
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The Barber of Seville
Libretto by Cesare Sterbini
Romance. Disguises. Chaos. Confusion...and finally, a happy ending!
“Nonstop funny, fast action, pranks, and a first-act finale of musical chaos and hilarity that you have to see...a riotous comedy.” David Pogue and Scott Speck, OPERA FOR DUMMIES
“...hard to beat when it comes to melodic inventiveness and cleverness of plot...the opera remains a masterpiece.” Sun-Sentinel
Figaro, Figaro, Figaro! Yes, indeed... Rossini's The Barber of Seville is THAT opera! If you had the pleasure of seeing the thoroughly delightful production of The Marriage of Figaro last season, the story of The Barber of Seville is its prequel.
Anything, anytime, anywhere... Whatever you need, just ask Figaro, Seville's most famous barber and jack-of-all-trades. The lovely Rosina and handsome Count Almaviva have marriage on their minds...but, sadly, Rosina is promised to the elderly scheming Dr. Bartolo! In comes Figaro, and through a series of disguises, foibles and follies he liberates Rosina from her gilded cage into the arms of her beloved.
Witness the delicious unfolding of comic opera at its best: energetic young lovers foiling a buffoon's schemes; mistaken identities; a plot that turns and twists—all wrapped up in Rossini's timeless music.
English baritone Roderick Williams makes both his Florida Grand Opera and American debut as Figaro, Seville's famous barber. Williams has become widely known throughout the UK and Europe for his opera performances and recitals, and his Figaro in Rossini's opera and his Count in Mozart's The Marriage of Figaro are highly regarded.Soprano Sarah Coburn returns to Florida Grand Opera to sing Rosina following her spectacular FGO concert last season with Bryn Terfel and her performances as Kitty in FGO's world premiere of Anna Karenina. Canadian tenor Frédéric Antoun returns to FGO to sing Count Almaviva following his acclaimed performances of Prince Ramiro in last season's La Cenerentola.
Frédéric Antoun, Feb 20, 23, 26 and 28 in Miami; Mar 4 and 6 in Broward
Andrew Bidlack, Feb 24 and 27 in Miami
Sarah Coburn, Feb 20, 23, 26 and 28 in Miami; Mar 4 and 6 in Broward
Lielle Berman, Feb 24 and 27 in Miami
Roderick Williams, Feb 20, 23, 26 and 28 in Miami
Kyle Pfortmiller, Feb 24 and 27 in Miami; Mar 4 and 6 in Broward
Gary Thor Wedow
Set and Costume Designer
Florida Grand Opera
Sarah Coburn as Rosina. Photo courtesy of Carol Pratt for Wolf Trap Opera Company.
Sung in Italian with English and Spanish projected titles.
Production sponsored by Randy Gage
Additional support provided by American Express and Mr. and Mrs. Roger Sturgeon
ACT I, Scene 1: Outside Dr. Bartolo’s house; before dawn
Count Almaviva, in love with a beautiful young woman, has followed her from Madrid to Seville. His servant, Fiorello, arranges musicians in front of her house so that the Count can sing for her. After the musicians leave, Almaviva remains. He hides at the approach of Figaro, who reveals that he is much in demand. The Count and Figaro are, it turns out, acquainted. Figaro tells Almaviva about the woman whose house they are standing in front of: She is Rosina, the wealthy ward of a miserly old man, Dr. Bartolo, who wants to marry her for her money. Rosina herself appears on a balcony and manages to drop a note to the Count before being hauled back inside by Dr. Bartolo. The doctor, determining that he must marry Rosina immediately, leaves to make arrangements, instructing his staff that nobody is to be let inside.
The Count reads Rosina’s note and responds: He is Lindoro, a student who loves her. (He wants her to love him, not his title.) She starts to reply but is interrupted and silenced. Figaro agrees to help Almaviva get into the house. He tells the Count that there is a regiment of soldiers arriving, and he should dress as one and demand to be billeted at Dr. Bartolo’s house.
Scene 2: Inside Dr. Bartolo’s house; later the same day
Rosina has fallen in love with Lindoro's voice. She is sweet and obedient, she says, but if thwarted, she has a few tricks up her sleeve! Figaro and she manage a hurried conversation before the arrival of Dr. Bartolo and his friend, the music master Don Basilio. Dr. Bartolo confides that he is worried about Count Almaviva, whom he became aware of in Madrid. Don Basilio suggests destroying the Count’s reputation. Slanderous rumors can quietly be circulated, and the nature of gossip will take care of the rest. Figaro, who overhears this, attempts to cajole Rosina into sending a written message to her lover. She feigns shyness but then astounds him by producing a finished composition for delivery. Dr. Bartolo wants an explanation for the ink stains on her finger; the used quill pen; the missing paper. The doctor tells her not to underestimate him.
Almaviva, disguised as an intoxicated soldier, barges in, demanding a room. While Dr. Bartolo is distractedly looking for his billeting exemption, the Count tells Rosina that he is Lindoro. The fake soldier causes a disturbance, attracting the constabulary. All are shocked when the sergeant (whom the Count tips off as to his true identity) lets him go rather than arresting him.
Act II: Inside Dr. Bartolo’s house; that evening
Now disguised as Don Alonso and pretending to be a music teacher sent by the ailing Don Basilio, Almaviva wins Dr. Bartolo’s trust by telling him he has intercepted a note from Rosina to the Count. Don Alonso gives Rosina a voice lesson while Figaro shaves her guardian. Figaro manages to steal the key to the balcony. Don Basilio arrives, and all four attempt to get rid of him—Dr. Bartolo through concern for his own health. A bribe does the job. The lovers conspire to elope at midnight. Dr. Bartolo overhears enough to realize that Don Alonso is not who he appears to be. Berta, the maid, cleans up the room while commenting on old men who marry young women.
Dr. Bartolo convinces Rosina to agree to marry him by showing her the note she wrote to Lindoro. He tells her that this man wants to abduct her for Count Almaviva. A storm breaks, and Almaviva and Figaro break into the house via the balcony. Rosina is furious until Lindoro reveals his true identity. Before they can escape, Don Basilio arrives with a notary and the marriage contract. He is forcibly persuaded to witness the marriage of Rosina and Almaviva. Dr. Bartolo, on whom the Count bestows Rosina’s dowry, finally gives the couple his blessing.