Glyndebourne 2017: Il barbiere di Siviglia
Fri 15 Sep 2017While this work may be set in Spain, we are once again in the world of Italian opera buffa or comic opera – although this time, the opera was actually written by an Italian. That said, the story originally comes from a French play, namely Pierre Beaumarchais’s comedy Le Barbier de Séville.
Beaumarchais’s writing was also the source material for Mozart’s earlier work, The Marriage Of Figaro, which was first performed in 1786, some 30 years earlier than Rossini’s work, which had its premiere in 1816. Confusingly, Mozart’s work, although written earlier, is actually based on Beaumarchais’ sequel to Le Barbier.
The titular barber is of course, Figaro himself. He is recruited to help his former master, the young Count Almaviva, win his chosen bride, the lovely Rosina, with the promise of a considerable reward if he is successful. Rosina is a virtual prisoner of her guardian, Doctor Bartolo , who plans to marry her himself, for her considerable dowry, so a clever strategy is needed.
Fortunately, Figaro is a clever and cunning fellow, and comes up with a plan for the Count to disguise himself as a sailor who has been billeted on Dr Bartolo, allowing him to woo Rosina. Eventually, after a little more help from Figaro, the spirited Rosina is able to escape, and the lovers are united, to live happily ever after, in the best traditions of comic opera.
Although it’s now one of the world’s favourite operas, the work was a failure at its premiere in Rome. The audience hissed and jeered throughout, encouraged by supporters of a rival composer who has already written an opera based on Le Barbier de Séville. The second performance however, was a roaring success. Oddly, the source play had also had a disastrous first performance, before becoming popular.
The Glyndebourne production which will be appearing on our stage this November has a modern setting, and what The Independent described as “visual sophistication”, with which “the eye is constantly delighted and dazzled.” It’s also a highly energetic production, which brings out all the the buoyant charm of Rossini’s score.
The most famous part of this score is probably Figaro’s opening number Largo al factotum, with its repeated pattern of Figaro’s just before the final section. Even if you think you don’t know any opera, you’ll probably have heard this somewhere before! It’s also often described as one of the most difficult arias in opera written for a baritone – and after such an opening, the rest of the opera doesn’t disappoint either, being one of Rossini’s most sparkling.
Glyndebourne 2017: Il barbiere di Siviglia: Wednesday 1 & Saturday 4 November