The Barber of Seville 2017 Study Guide REVISED (1 … Barber of Seville Study Guide The word opera comes from the Italian “opera in musica,” which means “works or plays in music.”

1 Barber of Seville Study Guide

STUDY GUIDE


Table of Contents

Welcome 3

Introduc on to Opera 4

A Night at the Opera 6

About the Composer: Gioachino Rossini 7

A Brief Barber History 8

Cast of Characters and Synopsis 9

Opera Buffa 11

A Word from the Director 12

Commedia Dell’ Arte 13

Commedia Dell’ Arte and The Barber of Seville 14

Rossini the Self‐Borrower 15

Aria Study: Largo al Factotum 16

Talent Behind the Scenes 17

For Teachers 18

References 19


“Opera is a drama c and lyric work of art combining all charms of the fine arts in a passionate ac on in

order to arouse sympathy and illusion by means of pleasant sense percep ons. The composite parts of

the opera are the poem, music and decora ons. Poetry speaks to the mind, music to the ear, pain ng to

the eyes; and all must become one to move the heart!”

‐ Jean‐Jaques Rousseau (1712‐1778)

As an art form, opera has a unique quality that awakens the visual and aural imagina on, s rs emo ons

that perhaps we did not know we had, and guides the audience into a common experience that collec vely

s mulates the soul. Through imagina ve libre os, which bring to life grand works of literature, and with the

magnificent power of music guided by the excep onal acroba cs of the trained human voice, we can truly

experience an art that is human in its most dis lled form. Opera gives us a chance to live and sense the

essence of our civiliza on, past and present, through a musical language that spans from the Baroque to the

Modern with messages that are true to our human nature and history. Where else can one hear what love

sounds like without being told you are in love? Only through the pen of such composers, whose names will

never fade in history, can we translate emo ons into the universal language of music! Music is the driving

force of opera, engulfing the audience from beginning to end and only le ng go once the curtain has come

down for the last me.

Rossini’s The Barber of Seville, the classic opera buffa with its stock characters taken from Comedia Dell’Arte,

is a veritable tour de force of vocal acroba cs, musical wit and comedy. From beginning to end, Calgary

Opera’s produc on of The Barber of Seville will keep the audience entertained at every melodic turn.

It is my sincerest hope that the crea vity of the ar sts and the magic of this opera upli s your spirits as it

does mine.

Sincerely,

Olga Primak Educa on and Outreach Coordinator

WELCOME!


The word opera comes from the Italian “opera in musica,”

which means “works or plays in music.” Simply put, opera is

a play in which the characters sing their lines rather than

speak them, with music as its driving force. It is a mixture of

many different types of art, combining music, drama, dance

elaborate costumes and scenery.

Tradi onal view holds that the first completely sung musical

drama (or opera) developed as a result of discussions held in

Florence in the 1570’s by a group of intellectuals, poets,

ar st, scien sts and humanists such as composers Giulio

Caccini, Peri and Vincenzo Galilei (father of astronomer

and scien st, Galileo Galilei, par cularly known for his

improvements to the telescope). The Floren ne Camerata,

as they called themselves, explored trends in the arts,

focusing on music and drama. One par cular point of focus

was their joint belief that music, in par cular vocal works,

had become overembellished and that returning to a more

pure form would be a powerful way to tell stories and

express emo ons. Gathering inspira on from Classical

Greece, its dramas and the idea of the Greek chorus, which

acts as a commentator repor ng on the ac ons, they

evolved the idea of “recita vo” — a single vocal line, sung in

a free, declamatory style, with simple instrumental support.

At the me it was argued that recita vo was far superior to

spoken verse, since the musical inflec ons intensified the

implied emo ons. Thus, it is no wonder that many of

the first operas were based on Greek tragedies with

mythological themes.

The first opera composed by Jacopo Peri in 1597, Dafne,

about the nymph who fled from Apollo and was turned into

a laurel tree as a way to save her virtue, was a through‐

composed musical work comprised of recita ve sec ons, to

reveal the plot of the drama, and arias which provided the

soloist an opportunity to develop the emo ons of the

character. Sadly most of the music for the opera has been

lost, however, Claudio Monteverdi’s L’Orfeo, composed in

1607 based on the Orpheus myth, was very successful and

so, to this day we can hear the music in performance and

recordings: h ps://youtu.be/sKD1qUVJJBU

Opera has flourished throughout the world as a vehicle

for the expression of the full range of human emo ons.

Italians claim the art form as their own, retaining dominance

in the field through the death of Giacomo Puccini in 1924.

Rossini, Bellini, Donize , Verdi and Leoncavallo developed

the art form through clearly

defined periods that produced

opera buffa, opera seria, bel

canto and verismo. Mozart

(1756‐1791) wrote operas in

Italian as well as German and

championed the singspiel (sing

play), which combined the

spoken word with music (The

Magic Flute 1791, Abduc on

from the Seraglio 1782), a form

also used by Beethoven in his

opera, Fidelio. Bizet (Carmen), Offenbach (Les Contes

D’Hoffmann), Gounod (Faust) and Meyerbeer (Les

Huguenots) led the adapta on by the French which ranged

from the opera comique to the grand full‐scale tragedie

lyrique. German composers von Weber (Der Fresichutz),

Richard Strauss (Ariadne auf Naxos) and Wagner (Der Ring

des Nibelungen) developed diverse forms such as singspiel

to through‐composed spectacles unified through the uses of

leitmo f. The English ballad opera, Spanish zarzuela and

Viennese opere a helped to establish opera as a form of

entertainment, which con nues to enjoy great popularity

throughout the world.

INTRODUCTION TO OPERA


With the beginning of the 20th century, composers in North

America diverged from European tradi ons in order to focus

on their own roots while exploring and developing the vast

body of the country’s folk music and legends. Composers such

as George Gershwin with Porgy and Bess, Douglas Moore with

The Ballad of Baby Doe, Carlisle Floyd with Suzanna, John

Adams with Nixon in China and Gian Carlo Meno with The

Medium have all cra ed operas that have been presented

throughout the world to great success. In Canada, composer

John Estacio and libre st John Murrell were commissioned by

Calgary Opera to produce Filumena, based on a true Canadian

story of the last woman to be hanged in Alberta — which

premiered in 2003 in Calgary to great success, and is one of

the most produced Canadian grand operas in the world.

Laura Whalen as the title character in Calgary Opera’s Filumena (2003)

https://youtu.be/_4Riw2wLsww

John Adam’s Nixon in China, Vancouver Opera

h ps://youtu.be/vd‐ODo8v06A

George Gershwin’s Porgy and Bess at Teatro la Scala

h ps://youtu.be/VfziZxrXNy0

Gian Carlo Meno ’s The Medium, Pensacola Opera

h ps://youtu.be/uReeJn3v0EM


There are many preconceived no ons propagated by

popular media about opera and so, a first visit to an

opera c performance may bring up a number of ques ons.

Here are some ps on how to make your night at the opera

most enjoyable.

By far, the most popular ques on and concern is:

What do I wear to the opera?

In the past, opera audiences have been known to wear

lavish gowns as well as top hats and bow es, giving the

rest of the public a feeling that opera isn’t for everyone,

which is definitely not the case! In today’s opera lovers’

world, audiences come dressed in whatever they feel most

comfortable! Your pajamas might a ract stares, but to

each his own!

https://www.theguardian.com/stage/theatreblog/2012/oct/18/what-should-you-wear-at-theatre

Where are the performances held?

All Calgary Opera’s produc ons are held at the Southern

Alberta Jubilee Auditorium. If you are driving, it is

recommended that you arrive approximately 45 minutes

prior to the start of the show to avoid traffic. Another great

reason to ensure that you arrive on me is that should you

be late, you may have to wait in the lobby for the late

arrival entries, and be forced to watch the opera from the

monitors in the lobby for a period of me rather than from

your seat.

Your Experience at the Opera

On performance nights, star ng at 6:30 pm, Calgary Opera

presents our Pre‐Show Chats, where some of Calgary’s

most learned musicians and historians give an interes ng

and entertaining talk about the opera that is about to be

performed on stage. Ice cream, coffee, tea and other treats

are available in the lobby as well as different exhibits which

will make your early arrival much more enjoyable.

You will be advised by an announcement when the doors

to the main hall are open. Don’t forget to get your program

from an usher prior to taking your seats, as it will give you

addi onal informa on on the opera and the ar sts. You

will no ce a number of individuals gathered at the very

front of the auditorium: these are the patrons that like to

look into the orchestra pit and all its splendors. Don’t be

shy, and if you have me, do wander down yourself during

intermission to have a look!

Food and drink are not allowed inside the hall and, since

sound carries due to the acous cs of the hall, please open

any candies you might have prior to the start of the show.

Also remember that many hours have gone into bringing

this par cular produc on to you, so please be considerate

of the performers and your fellow audience members and

turn off and put away your cell phones.

Please remember that photography is not permi ed once

the performance starts. The design and direc on of the

show is under intellectual property and only the official

Calgary Opera photographers can take pictures.

Another big concern that the public has about opera is the

fact that it is in a different language. This, of course, is true

for most operas, however, like any foreign film that is

accessible to the public, opera always, no ma er what

language it’s sung in, has easy to read SURTITLES which are

projected above the stage.

Please, do feel free to show your apprecia on to the

performers by laughing at the humorous parts and or

applauding a er a well—performed aria. If you were

par cularly impressed by a performer’s vocal acroba cs,

feel free to express your enthusiasm vocally as well as by

applause; if you hear fellow audience members shout

“bravo” for a man, “brava” for a woman or “bravi” for a

group of performers, chime in if the spirit moves you! It’s

all part of your unique opera experience! And remember,

for a performer, audience response is one of the most

rewarding parts of their work… posi ve audience response,

that is!

Some may argue that opera is an acquired taste. However,

to acquire the taste we must first expose ourselves to it,

and there is no be er way than doing it live!

Below are some helpful Calgary Opera links that may

answer any addi onal ques ons you may have:

https://www.calgaryopera.com/discover/plan-your-visit

https://www.calgaryopera.com/discover/faq

A NIGHT AT THE OPERA: Your Guide to a Night to Remember


EARLY YEARS The composer of The Barber of Seville was born in Pesaro, Italy, on February 29, 1792 (a leap year). For a me his parents earned a living traveling from one small opera house to another — his mother as a singer and his father as a horn player in the orchestra. He had only a li le educa on in reading, wri ng, grammar and arithme c and most of his childhood he ran wild. When Gioachino was 12, his parents ended their travels and se led in Bologna where he studied music. He also began to play the violin and viola and to compose sonatas and other pieces. Because of his beau ful singing voice, he was o en invited to sing in churches in Bologna, and he was soon able to earn extra money playing harpsichord for opera companies in and around Bologna. At 14, he began more formal music studies at the Conservatory. Although he rebelled against the strict textbook rules for music, he was a good student and even received a gold medal. At the end of his first year, he was chosen to write a cantata that was performed in public. Unfortunately, he had to leave the Conservatory a er four years in order to earn money for his family. All his life he was to regret the fact that he did not receive more musical training.

SUCCESS

Rossini's first paid commission was a one‐act comic opera for a theatre in Venice. The Marriage Contract, wri en in less than a week, earned him one hundred dollars — an enormous sum for the 19‐year‐old Gioachino! The opera was a success, and he kept wri ng. His first major success came in 1812 with La Pietra del Paragone which used musical pieces from his earlier opera. This comic opera was performed over 50 mes in its first season alone. As a result of its success, he was paid to write three more operas. Speed was one of Rossini’s most notable characteris cs as a composer — he had actually wri en five operas in one year! Rossini's first serious opera, Tancredi (its overture borrowed from La Pietra del Paragone) opened in Venice in 1813, and became popular throughout Italy, Europe, and North and South America. With his comic opera The Italian Girl in Algiers, the 21‐year‐old Rossini became the hit of Venice. Emperor Aurelian in Palmyra and The Turk in Italy followed.

In the six years following The Barber of Seville, Rossini composed 16 operas, turning out full‐length operas in a few weeks or even days. Some were good, others were not. Among the best were Cinderella, The Thieving Magpie, Moses in Egypt, Semiramide, The Siege of Corinth and The Count Ory. His thirty‐ninth and final opera was William Tell, the familiar story in which William Tell must shoot an apple off the top of someone’s head. You probably know the William Tell overture as the theme to The Lone Ranger and have heard it played in many cartoons! ROSSINI AND THE GOOD LIFE A er William Tell, Rossini completely gave up wri ng operas. In his final years, he was plagued with physical and emo onal illnesses. In his good periods he was a popular member of French society, and everyone wanted invita ons to a Rossini dinner or party. Rossini was a very skilled chef and a great lover of food. One of his favorite dishes was turkey stuffed with truffles (very expensive mushrooms). According to one story, Rossini claims to have cried only three mes in his life: the first me over the failure of The Barber of Seville’s premiere; the second when he heard famous violinist Niccolò Paganini play; and finally, when his picnic lunch, a turkey stuffed with truffles, fell overboard during a boa ng party. Rossini gave his name to many recipes, including a very famous dish called Tournedos Rossini. Great chefs dedicated dishes to him, such as Poached Eggs alla Rossini, Chicken alla Rossini and Filet of Sole alla Rossini. A dessert dedicated to William Tell was a tart served on the opera's 1829 Paris opening night. Active in social and cultural affairs, Rossini remained in his later year as a Viennese newspaper had earlier described him: "...highly accomplished, of agreeable manner and pleasant appearance, full of wit andf un, cheerful, obliging, courteous, and most accessible. He is much in society, and charms everyone by his simple unassuming style." Falling ill in 1868, Rossini died in his summer home in Passy, outside Paris. He was buried in Paris at a magnificent funeral a ended by many admirers and dignitaries. A er providing for his wife, he le most of his wealth to start a conservatory of music at Pesaro, his birthplace in Italy.

Rossini Opera Fes val is an

annual fes val dedicated

to Rossini’s operas in his

hometown of Pesaro, Italy.

ABOUT THE COMPOSER: GIOACHINO ROSSINI

Photograph 1865

Portrait by Vincenzo Camuccini 1815


Just as in present day films, French playwright Pierre‐Augus n

Beaumarchais’ play The Barber of Seville had been made into

a number of operas since its premiere in 1775. And not unlike

today’s movie scripts, the play was but a thinly veiled

government cri cism which closely coincided with the

growing social unrest marked by the French Revolu on, which

began in 1789. Before Rossini was commissioned to write the

opera, out of all the operas that were based on the subject of

Beaumarchais’ play, the most successful was by far that of

Giovanni Paisiello (1740 – 1816) wri en in 1782.

Paisiello’s The Barber of Seville Overture:

h ps://www.youtube.com/watch?v=wOmtx5pIMzo

Paisiello’s The Barber of Seville Count Almaviva’s Cava na:

h ps://www.youtube.com/watch?v=PSSxQJrRIF4

Out of respect for the old composer and for the work itself,

Rossini, who composed his version of Le Barbier de Seville in

1815, wrote a number of public and private disclaimers in

which he praised the ar stry of his predecessor and affirmed

the newness of his own composi on which he was obliged to

rename “Almaviva”.

Legend has it that Gioachino Rossini, who was only 23 at the

me, wrote the opera in 13 days. He signed the contract for

the commission of the opera on December 15, 1815, which

was just over two months prior to opening night, on February

20, 1816 in Rome at the Teatro Argen na.

The first performance of “Almaviva” was a complete disaster:

the commissioning impresario, the person who provided the

funds for the opera, died on February 6, not to men on

various on stage accidents, spanning from the Don Basilio

tripping and giving himself a bloody nose and having to sing

his aria with a handkerchief over his face to a cat wandering

onto the stage, being chased by Figaro and hiding under

Rosina’s skirt. But worse of all were the Paisiello supporters

who came just to heckle and jeer the performers during the

opera. Their loyalty to Paisiello made them completely blind

to the fact that Rossini’s composi on was far superior.

The second performance, however, was a complete success,

so much so that two months a er the death of Paisiello,

Rossini had the courage to rename the opera Il Barbiere di

Siviglia. With Rossini’s spirited overture, upbeat humour,

audible quick wit and poignant musical innova ons, The

Barber of Seville remains one of the most frequently

performed operas in the world.

Beaumarchais wrote three plays about the barber Figaro and

his rela onship with Almaviva. It is interes ng to note that

due to the fact that Beaumarchais was also an amateur

musician he envisioned The Barber of Seville as an opera;

however, it was rejected by the Paris Opera Comique and so it

was created into a play. The Marriage of Figaro is the second

play in the trilogy first performed in 1784 and Mozart’s opera

came to audiences in Vienna in 1786. In the third play, La

Mere Coupable (The Guilty Mother), we find the Almaviva

family in turmoil once again faced with the reality of past

ac ons and secrets that require Figaro and Suzanna, his wife

from The Marriage of Figaro, to come to the rescue. La Mere

Coupable is a sen mental drama with none of the comedy we

see in The Barber of Seville or The Marriage of Figaro. La Mere

Coupable was first performed in 1797.

A BRIEF BARBER HISTORY

Teatro Argen na in Rome


CAST OF CHARACTERS

NAME DESCRIPTION VOICE TYPE PRONUNCIATION

Figaro A barber and jack of all trades Baritone FEE‐gah‐roh

Rosina Don Bartolo’s young ward Mezzo‐soprano Roh‐ZEE‐nah

Almaviva A count in love with Rosina Tenor Al‐mah‐VEE‐vah

Bartolo A doctor and Rosina’s guardian Bass BAR‐toh‐loh

Don Basilio A music teacher Bass Bah‐ZEE‐lee‐oh

Berta Servant to Don Bartolo Soprano BER‐tah

Fiorello Servant to count Almaviva Bass Fee‐oh‐REL‐loh

SYNOPSIS ACT 1

In front of the house belonging to old Dr. Bartolo, young and wealthy count Almaviva serenades the beau ful Rosina, Dr. Bartolo’s jealously guarded ward. Hearing no response from Rosina, the count dismisses his musicians and is prepared to leave when Figaro, the town barber and factotum (Jack of all trades) enters the square singing his own praises: h ps://youtu.be/Dq_0wPYFp9A Alamaviva and Figaro realize that they are not strangers to each other, and that Figaro was once the count’s servant. When Almaviva explains that he has followed Bartolo and Rosina to Seville to capture Rosina’s heart, Figaro gives him the great news that he is in fact the factotum in Bartolo’s home and has free access into the house. At this point Rosina emerges onto her balcony ready to give a note to her admirer and manages to do so even though Bartolo hovers over her. Bartolo is well aware that count Almaviva is vying for Rosina’s heart, which he wants for himself along with her dowry. In the note Rosina asks her young suitor for his inten ons and his name. Almaviva replies with

another serenade and discloses that he is Lindoro, a poor student whose inten ons are to love her: h ps://youtu.be/nmJsF9OF_eQ. Now more than ever moved by his desire to see Rosina, the count begs Figaro to help him find his way into Bartolo’s house. Inspired by the golden coins presented to him, Figaro concocts a plan whereby the count will present himself as a drunken soldier (someone who is drunk will not be a threat to Bartolo’s claim on Rosina, according to Figaro) to be billeted in Bartolo’s home (common prac ce for regimental soldiers at the me). In Bartolo’s house that same morning, we find Rosina wri ng Lindoro a le er: h ps://youtu.be/mDyXqf0at_w. Figaro made his way into Bartolo’s home and managed a brief mee ng with Rosina before Bartolo appears and expresses his annoyance with him. Overwrought with suspicion, Bartolo ques ons Rosina about her mee ng with Figaro. When Rosina’s singing teacher Don Basilio arrives, Bartolo brings him up to date on the situa on with Rosina. Meanwhile, Figaro has overheard Bartolo and Basilio’s conversa on. He starts to prepare the groundwork for ‘Lindoro’, but soon realizes that the wily Rosina is already ahead of him.


The Barber of Seville by Luis Alvarez Catala (1836‐1901)

Bartolo suspects Rosina of wri ng a le er to ‘Lindoro’; when she protests her innocence, he warns her not to trifle with him, advising her to find more plausible excuses for a man of his standing: h ps://youtu.be/nC8VUiaaZio

Almaviva, now disguised as a soldier, arrives to take up his ‘billet’ in Bartolo’s house. Rosina is of course delighted when he reveals that he is really her secret admirer. Bartolo’s annoyance at Almaviva’s drunken behaviour causes such a row that the mili a are called by the neighbours. The Count, much to Bartolo’s annoyance, escapes arrest.

ACT 2

Assuming yet another disguise, Almaviva enters the house as Don Alonso, a music teacher who says he has come to give Rosina her music lesson in place of Don Basilio, who, he claims, has suddenly fallen ill. To gain Bartolo’s trust, Don Alonso reveals that he has intercepted a note from Almaviva to Rosina. Bartolo fetches Rosina for her lesson. While Bartolo dozes, Rosina and ‘Lindoro’ express their love and make plans to elope that night.

Figaro arrives to shave Bartolo. He manages to steal the key to Rosina’s balcony and lures Bartolo away from the music room by smashing a pile of crockery. All is going to plan un l Don Basilio unexpectedly appears, but Figaro quickly pays him off and Basilio withdraws. Figaro resumes shaving Bartolo, and tells Rosina of his plan for the lovers to make their escape. Bartolo,

however, has not been en rely duped, and penetrates Almaviva’s disguise. The game is up for the lovers – albeit temporarily. When Bartolo discovers that Basilio has never heard of Don Alonso, he decides to marry Rosina without delay. He confronts Rosina with the le er from Don Alonzo and tells her that Lindoro and Figaro are ac ng on Almaviva’s behalf and that Lindoro has deceived her. Rosina accepts Bartolo’s marriage proposal and tells him of their escape plan.

Following a violent thunderstorm, Figaro and Almaviva climb into the house by way of a ladder and an open window, as it was agreed with Rosina. They are confronted by Rosina who is angry at being ‘used’ by Lindoro – un l she learns that he is in fact Almaviva and falls willingly into his arms. h ps://youtu.be/En7uUiHIFoY Figaro is anxious for the lovers to be off, but they discover they are unable make their escape because Bartolo has removed the ladder. h ps://youtu.be/2dprmPPVfas. Basilio returns with the notary who is ready to marry Rosina to her guardian, but a bribe and threats easily persuades Basilio to witness instead the marriage of Rosina to Almaviva. Bartolo and the magistrate appear too late and he is obliged to acknowledge that he has finally lost Rosina and gives the young couple his blessing.


Opera buffa, the comic or sa ric genre, must be dis nguished from its more serious predecessor, opera seria. The opera seria generally dealt with historical, legendary, or mythological themes, and usually contained a happy ending with due reward for rec tude and good deed. Quintessen al examples of opera seria are Handel’s Julius Caesar (1724), Gluck’s Orfeo et Euridice (1762) and Mozart’s Idomeneo (1781).

As the end of the 18th century approached, the opera buffa developed; it was a more realis c genre that portrayed more human characters in everyday situa ons. The lower classes, in an almost uncanny extension of the classical Commedia dell’Arte genres, preferred the sa re of the opera buffa genre, which, like its predecessors, was usually concerned with love intrigues involving cuckolds, deceiving wives and scheming servants. In certain respects, the opera buffa genre’s themes and subjects provided democra za on in the performing arts, which enabled the lower classes, mostly through comedy, to sa rize their masters and vent their frustra ons and chagrin at social injus ces.

In contrast to the opera seria, the opera buffa preferred simplicity in design. Generally, a few characters would be portrayed against an uncomplicated se ng with commensurate simplicity of underlying melodies and tunes. Yet musically, there would be much stylis c contrast: the use of rhythmic, staccato passages to emphasize coque sh moods. Opera buffa featured extended act finales with sophis cated ensembles and many set‐pieces involving the par cipa on of many characters in duets and trios.

Pa er songs are a feature of opera buffa: these are tongue twisters delivered at presto speed that are an art in itself that require an acute sense of comic ming in order for the singer to make the words intelligible, and a vocal virtuosity equivalent to words coming out of a keyboard at breakneck speed. In most classic opera buffas, the pa er usually portrayed old busybodies, and were sung by the basso buffo character who would be cha ering and grumbling incessantly.

Rossini’s opera buffas created the role model for pa er songs and made them de rigeur: in The Barber of Seville, Figaro’s Largo al factotum is an example of quintessen al pa er.

Rossini once wrote: “I was born for the opera buffa.” His The Barber of Seville is pure opera buffa, and an ingenious wri ng within that genre and style. Like Donize ’s Don Pasquale, both are 19th century works. Pure Commedia dell’Arte plots are presented with musical and drama c tastefulness, elegance and refinement, never bearing the faintest hint of vulgarity.

OPERA BUFFA

Pacific Opera Victoria: Antonio Figueroa as Almaviva, Set Design by Ken MacDonald


By Alain Gauthier, Director ‐ Calgary Opera’s produc on of The Barber of Seville

This produc on will be my third produc on of The Barber of Seville. I’ve done two very classic ones (one in Montreal and one in Aus n, Texas), set up in the original period me of the play. The produc on that will be presented in Calgary is se ng up the ac on in the early years of the 20th century.

What is remarkable about this opera, originally a French play wri en by author Beaumarchais, is that it

follows the basic rules of commedia dell’arte, a form of theatre, origina ng from Italy that was popular in

Europe from the 16th through the 18th century.

In this type of comedy, you’ll find a gallery of characters that represent fixed types, such as foolish old men, servants and lovers. In this way, The Barber of Seville looks like a classic commedia dell'arte plot.

Old, possessive guardian (Bartolo) seeks to marry young ward (Rosina) but is defeated by the girl's lover (Count Almaviva) and his servant (Figaro). This is the standard substance of farce, with Bartolo as the foolish old man and Figaro as the ingenious servant.

For me, comedy is like a clock mechanism. It has to be very precise to work. My goal, when direc ng a piece like The Barber of Sevillle, is to make sure that all the elements of this mechanism work perfectly together. Although the opera originated from a play, in the opera version the music adds an even more accurate degree of preciseness. For example, the finale scene of Act I really sounds like a machine with its constant and unstoppable rhythm, reminding me the of cking of a clock. One of my goals will be to try to illustrate visually how this crazy machine works, and how it affects the characters on stage.

A WORD FROM THE DIRECTOR

Pacific Opera Victoria: Set Design by Ken MacDonald


In the 16th century one of the most popular forms of street

theatre in Italy was Commedia dell’Arte. It was popular

theatre with an emphasis on ensemble ac ng. A typical

scenario involved a young couple’s (l’innamora ) love being

thwarted by their guardians or elders (vecchi). The scenario

used symmetrical pairs of characters: two elderly men, two

lovers, two zanni, a maidservant, a soldier and extras. The

lovers, who played unmasked, were scarcely true commedia

dell’arte characters — their popularity depending on looks,

grace and fluency in an eloquent Tuscan dialect. The

parents were clearly differen ated. Pantalone was a

Vene an merchant: serious, rarely consciously comic and

prone to long rades and good advice. Do ore Gra ano

was, in origin, a Bolognese lawyer or doctor; gullible and

lecherous, he spoke in a pedan c mixture of Italian and La n.

Other characters began as stock masks and developed into

well‐known characters in the hands of the most

talented players. The Capitano developed as a caricature of

the Spanish braggart soldier, boas ng of exploits abroad,

running away from danger at home. He was turned

into Scaramuccia by Tiberio Fiorillo (1645–47).

The zanni, who were o en acrobats, or “tumblers,” had

various names such as Panzanino, Bura no, Pedrolino (or

Pierrot), Scapino, Fritellino, Trappolino, Brighella and most

notably, Arlecchino and Pulcinella (related to the

English Punchinello, or Punch). Columbina, a maidservant,

was o en paired in love matches with Arlecchino, Pedrolino,

or the Capitano. With Harlequin she became a primary

character in the English pantomime’s harlequinade.

The zanni had already been differen ated as comic rus c

and wi y fools. They were characterized by shrewdness and

self‐interest; much of their success depended on improvised

ac on and topical jokes. Arlecchino (Harlequin), one of

the zanni, was created by Tristano Mar nelli as the wi y

servant, nimble and gay; as a lover, he became capricious,

o en heartless. Pedrolino was his counterpart. Dol sh yet

honest, he was o en the vic m of his fellow comedians’

pranks. As Pierrot, his winsome character carried over into

later French pantomimes. The zanni used certain tricks of

their trade: prac cal jokes (burle) — o en the fool, thinking

he had tricked the clown, had the tables turned on him by a

rus c wit as clever, if not so nimble, as his own — and comic

business (lazzi).

*Source: Encyclopedia Britannica

COMMEDIA DELL’ ARTE

Figaro as Harlequin


The storyline of The Barber of Seville clearly follows the

recipe of the typical commedia scene:

Two lovers — Lindoro and Rosina, two names typically used

in commedia for l’innamora .

Two old men who plot to separate them — Dr Bartolo and

Don Basilio. The zanni, Figaro, who through his cunning and

shrewdness helps them and humiliates the two vecchi.

Dr Bartolo is modeled a er il Do ore and Pantalone pulling

the characteris cs of the miserly old man, who is gullible,

glu onous, lecherous, o en in love with a young girl, who

through these characteris cs mocks the educated elite.

Don Basilio is a varia on of the Pulcinella character whose

name is derived from "pulcino," meaning chick, and

"pollastrello," meaning rooster. Pulcinella either plays dumb,

though he is very much aware of the situa on, or he acts as

though he is the most intelligent and competent, though he

is woefully ignorant. He is incessantly trying to rise above his

sta on, though he does not intend to work for it. He is a

social chameleon, who tries to get those below him to think

highly of him, but is sure to appease those in posi ons of

power. The characteris cs that we find in Don Basilio are

clearly of someone who acts as though he is in control of the

situa on and appeases to those who hold power over him.

For addi onal detailed informa on on the Commedia

dell’Arte Stock characters click on the link below:

http://www.tim-shane.com/commedia-stock-characters.htm

COMMEDIA DELL’ARTE AND THE BARBER OF SEVILLE

Il Do ore Plantalone

Arlecchino


In the 18th and 19th centuries it was not unusual for composers to self borrow. That is, they would take mo fs or certain passages

from one piece and include it in another. If an opera composer found himself with an opera that was not successful, it was

customary for him to take that passage, as it may never be heard again, and include it in a new work. Rossini was very much a

enthusias c prac oner of this tradi on. The Overture to Barber was first composed for Aureliano in Palmira in 1813, then used

with some modifica ons for Elisabe a, regina d’Inghilterra in 1815. h ps://www.youtube.com/watch?v=si4xnjNnyH8

Below are some examples of self borrowing passages from the opera:

The opening chorus, Piano, pianissimo — derived from the opening chorus of Act II of Sigismondo (1814)

Almaviva’s aria Eccor ridente in cielo — based on the first six bars of the chorus of priests, Sposa del grande Osiride in

Aureliano in Palmira

Rosina’s aria, Una voce poco fa — the second part of the aria, Io sono docile, first appeared in Arsace’s rondo Non lasciarmi

in tal momento in Aureliano in Palmira and was also used in Elisabe a, regina d’Inghilterra

Basilio’s aria, La calunnia — the beginning is derived from a duet for Arsace and Zenobia in Aureliano in Palmira, while the

crescendo comes from a duet for Ladislao and Aldimira in Act I in Sigismondo

The Rosina/Figaro duet, Dunque io son — the melody, at the words Ah, tu solo Amor tu sei, sung by Rosina, was first heard

in Fanny’s aria, Vorrei spiegarvi il giubilo in La cambiale di matrimonio (1810)

Bartolo’s aria, A un do or della mia sorte — the orchestral mo f, while Bartolo sings I confe alla ragazza, il ricamo sul

tamburo, comes from a duet in the one‐act opera, Il Signor Bruschino (1813)

The Act II trio, Ah, qual colpo — the melody begun by Rosina with the words Dolce nodo avventurato is borrowed from Voi

che amato, comapiangete in the cantata Egle ed Irene (1814)

© Charles Osborne, 1975

ROSSINI THE SELF‐BORROWER

Pacific Opera Victoria: Sylvia Szadovszki as Rosina and Peter McGillivray as Dr Bartolo

Set Design: Ken MacDonald


When Figaro first makes his appearance, he does so in perfect harmony with his commedia dell’arte counterpart. The zanni is an acrobat and in this aria that characteris c is evident in the vocal acroba cs that must be performed by the singer. This aria offers the character the opportunity to show off to his audience his personality as pompous, self‐aggrandizing and indispensable to those he serves. What makes this aria so popular is Rossini’s genius work with the text se ng. The 85‐year old Verdi said: “I cannot help believing that, for abundance of ideas, comic verve and truth of declama on, Il barbiere di Siviglia is the most beau ful opera buffa in existence.” Truth of declama on is what we have in this aria as well as in many others found in The Barber of Seville. Adding to the character’s comedic persona is the frene c pa er at the climax of the piece, giving him the opportunity, right at the onset, to make himself endearing and indispensable to the audience’s enjoyment of the opera. You can clearly hear what spoken Italian sounds like in the musical se ng of this text:

h ps://www.youtube.com/watch?v=7zHBdOLKrlc

Character: Figaro

Act I Scene I Largo al factotum della ci a. Make way for the *factotum of the city. Presto a bo ega che l'alba e gia. Rushing to his shop now that it's dawn. Ah, che bel vivere, che bel piacere Ah, isn't life good, how pleasant it is per un barbiere di qualita! For a barber of class! Ah, bravo Figaro! Ah, nice one Figaro! Bravo, bravissimo! Nice one, really nice one! Fortuna ssimo per verita! I am the luckiest it's true to say! Pronto a far tu o, Ready for anything, la no e e il giorno night and day sempre d'intorno in giro sta. Always busy and around. Miglior cuccagna per un barbiere, A be er lot for a barber, vita piu nobile, no, non si da. A more noble life cannot be found. Rasori e pe ni Razors and combs lance e e forbici, **Lancets and scissors, al mio comando At my command tu o qui sta. Are all here. V'e la risorsa, And there are `extras', poi, de mes ere Then, for the business colla donne a... col cavaliere... With women... and with gentlemen... Tu mi chiedono, tu mi vogliono, Everyone asks for me, everyone wants me, donne, ragazzi, vecchi, fanciulle: Women, young people, old people, the golden haired; Qua la parruca... Presto la barba... What about the wig... A quick shave... Qua la sanguigna... ***Some leeches for bleeding... Presto il biglie o... Quick the note... Qua la parruca, presto la barba, What about the wig, a quick shave, Presto il biglie o, ehi! Hurry ‐ the note, o me! Figaro! Figaro! Figaro!, ecc. Figaro! Figaro! Figaro! etc. Ahime, che furia! Heavens, what mayhem! Ahime, che folla! Heavens, what crowds! Uno alla volta, per carita! One at a me, For pi es sake! Figaro! Son qua. Figaro! Here I am. Ehi, Figaro! Son qua. O me, Figaro! Here I am. Figaro qua, Figaro la, Figaro here, Figaro there, Figaro su, Figaro giu, Figaro up, Figaro down, Pronto pron ssimo son come il fumine: Quicker and quicker the sparks fly with me; sono il factotum della ci a. I am the factotum of the city. Ah, bravo Figaro! Bravo, bravissimo; Ah, nice one Figaro! Nice one, really nice one; a te fortuna non manchera. From you luckiness will not depart. *factotum: a Jack‐of‐all trades, an individual who has many responsibili es and abili es ** Lancet: a tool used by surgeons for bloodle ng ***Historically barbers dedicated themselves to more than shaving and cu ng hair. Some du es barbers performed were: bloodle ng, den stry, etc.

ARIA STUDY: Largo al Factotum

Photo Credit:


Name: Eugenio Saenz Flores

Role at Calgary Opera: Technical Director

Hometown: Monterrey, Mexico

Educa on: Produc on Program at The Na onal Theatre School of Canada

What made you decide to pursue this career path?

When I was in high school I took a Play Produc on course. Even though I really wanted to act in the class play, my teacher thought my ac ng skills should be saved for other things and offered me the role of Stage Manager. At the me I had no clue what that role was or that it even existed. A er that project I became heavily involved in the drama department at my high school back in Mexico. For most of high school I thought this would only be a hobby as I have always wanted to become a lawyer. It wasn’t un l one of my teachers and I cha ed about all the things anyone trained in technical theatre could do that I decided to move to Canada for theatre training. Ten years later here I am!

What does a typical day in produc on look like?

There is not a typical day per se when you are a Technical Director as every day is different depending on what part of the process you are at. But usually, during prep me for a produc on there is a lot of desk work: planning a set build, scheduling and making sure you an cipate any issues that may arise during your me at the theatre. Once you move into the theatre, the clock starts cking. If you did your prep right it should be a smooth sail to opening night. Every load in is different as some shows have bigger sets, some have lots of special effects, some have no sets at all, some have lots of video. So it really varies from show to show what your days at the theatre look like. Once the set, lights, props, special effects, video, sound and all other technical elements are ready, you can get the actors to start rehearsing. Rehearsal days are longer than usual as we are there before, during and a er rehearsals. A er a few days of rehearsals we have our dress rehearsal before our big opening night. Once the show runs we get a li le breathing me, but usually by this me we are already planning the next one (back to prep me) and also planning the load out, which most of the me is whatever we did on the load in just backwards.

If someone was interested in becoming the Technical Director of an opera company, what would you recommend they have in terms of skills and experience?

I think that anyone that wants to become a Technical Director should do every job backstage at least once. A good place to start is by volunteering at a local community theatre, high school plays or even at university. Doing these small shows where everyone is hands on is a huge learning experience. No ma er if you are doing a show in a Broadway theatre or a small play at a small black box theatre in a high school most shows whether opera, theatre or dance have similar roles and similar processes. Every show has a Director, Stage Manager, Performers (actors, singer, dancers, musicians), Designers, Technicians, Lights, Sound, Props, Costumes so ge ng to know these roles will help you understand them be er and allow you to help your team when you are in charge.

What do you love most about this career?

My favourite part of what I do is the people I work with. As I get to work full me with a company I get to meet all kind of ar sts that come and work with us to put up a show. Each one of them brings a different set of skills and ideas that I get to learn from.

What surprises you most about this career?

When I was in school I thought that the theatre, dance and opera world were almost polar opposites, but even though they appear to be in essence they are the same. They all tell a story and they all are put together in a very similar way – from a produc on point of view. For anyone who works in theatre, dance or opera, the skills needed to work in the produc on end of the shows are very similar and very easily interchangeable.

What is your favourite opera you have worked on? Why?

Not sure I have a favorite one as I enjoy all of them, but the most memorable one I worked on was a produc on of Tosca back in Mexico in 2009. It was my first opera by Puccini, the score is strong and has some great arias in it. Not to men on it was my second kick at the can at an opera and I was just ge ng to know this world. I am very excited to be revisi ng this show in April!

What do you enjoy outside of opera?

Even though we can be stuck in dark theatres for a lot of our jobs, I really enjoy going to watch other performances, whether it’s Alberta Ballet, the CPO, a Ver go Theatre show, a concert, sports events or a ending a museum. I always try to keep myself current and keep learning on what is out there and how I can use it to grow not only professionally but personally.

TALENT BEHIND THE SCENES


Dear Teachers,

The Barber of Seville is an opera rich in content, both entertaining and educa onal. In addi on to the informa on found in this

study guide, I am also including a number of links that will help you bring this content to your classroom according to your

student’s needs.

ACTIVITIES, DISCUSSIONS AND RESEARCH:

Refer to page 16 ‐ Aria Study: Largo al Factotum. Figaro was the town barber and Jack‐of‐all trades. In medieval Europe

barbers were also medical prac oners who performed treatments such as bloodle ng, pulling teeth, administering

enemas, in addi on to cu ng hair and shaving. Although this prac ce had become rare among barbers at the me

The Barber of Seville was wri en, Figaro’s responsibili es are s ll those of the barber surgeon. Your students can research

the different tools used by barber surgeons through the centuries as well as the significance of the barber pole which is s ll

seen outside barbershops today.

http://www.abc.net.au/radionational/programs/bodysphere/when-barbers-were-surgeons-and-surgeons-were-barbers/6391468

https://www.mdrnyu.org/fall-2015-bloody-history-of-barber-surgeons/

The barber pole informa on http://www.history.com/news/ask-history/why-are-barber-poles-red-white-and-blue

Commedia dell’arte actors used masks for their characters, except for l’innamora . Research the different characteris cs of

the characters from The Barber of Seville matching those of their Commedia counterparts. Create masks that match the

criteria and re‐enact or create a visual art piece that recreates a scene from the opera.

Commedia dell’arte masks http://www.commediamask.com/index.html

Informa on on comedia dell’arte stock characters http://www.tim-shane.com/commedia-stock-characters.htm

Don Basilio’s aria, which he sings in Act I, La Calunnia. http://www.definitions.net/definition/calumny. In this scene, Basilio

proposes a great way for Dr. Bartolo to rid himself of Count Almaviva by spreading a false rumor about him. Listen to the

aria, watch the video and read the transla on. Discuss with your students the implica ons of such an ac on. Note that in

the opera Dr. Bartolo in ally refused to go along with this scheme.

Don Basilio sings La Calunnia http://www.opera-arias.com/rossini/il-barbiere-di-siviglia/la-calunnia-e-un-venticello/

https://today.law.harvard.edu/spread-of-false-information-causes-dangers-says-sunstein/

http://www.screenretriever.com/online-safety-and-behavior-center/the-devastating-impact-of-cyberbullying/

https://www.getcybersafe.gc.ca/cnt/cbrbllng/prnts/lgl-cnsqncs-en.aspx

The Barber of Seville is considered to be one of the best opera buffas in performance to this day. Other than the storyline,

how did Rossini create humour through his music.? What are some musical aspects that we associate with humour? Listen

to the following musical excerpts and compare.

h ps://www.youtube.com/watch?v=EVZWc0h2Z5M compare with h ps://www.youtube.com/watch?v=q3ZazDkxzk0

h ps://www.youtube.com/watch?v=SKrz1pl9oPw compare with h ps://www.youtube.com/watch?v=80g9E1JZoZg

h ps://www.youtube.com/watch?v=7t5Mz8FvCz0 compare with h ps://www.youtube.com/watch?v=PUC6bLj94rQ

Whatever happened to Figaro, Rosina, Almaviva, Bartolo, etc? Mozart’s The Marriage of Figaro is the second instalment of

the original play by Beaumarchaise. Compare the works of Mozart and Rossini. Would Rossini have heard Mozart’s opera?

If he had, would this have influenced his musical characteriza on? Why did Mozart choose the second play in the trilogy

rather than the first? How does Almaviva in the Barber and Almaviva in The Marriage compare? How does Figaro

compare? Who is Suzanna? There are a number of new characters, who are they? What is a trouser role?

Informa on on The Marriage of Figaro https://www.britannica.com/topic/The-Marriage-of-Figaro-opera-by-Mozart

Le Nozze di Figaro by Mozart, Paris produc on h ps://youtu.be/x8OHbbmfnW8

FOR TEACHERS


Ba a, Andras. Opera. Composers, Works, Performers. Cologne: Konemann Verlagsgesellscha , 2000

“The Barber of Seville”. Canadian Opera Company Guide, 2015

Ganeri, Anita and Barber, Nicola. The Young Person’s Guide to the Opera. London: Pavilion Books Ltd., 2001

Mar n, George. The Opera Companion. London: John Murray Publishers, 1984

Mordden, Ethan. Opera Anecdotes. Oxford: Oxford University Press, 1985

Opera Quota ons. Edited by Claire Lipscomb. Wa ord: Exley Publica ons Ltd, 1998

Orrey, Leslie. A Concise History Of Opera. London: Thames and Hudson Ltd, 1972

Walsh, Michael. Who’s Afraid of Opera? Simon & Schuster, 1994

REFERENCES

Documents

The Barber of Seville 2017 Study Guide REVISED (1 … Barber of Seville Study Guide The word opera comes from the Italian “opera in musica,” which means “works or plays in music.”