The Barber of Seville

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Gabriele Bellini

CHANDOSO P E R A I N

ENGLISH

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Gioachino Rossini, c. 1820

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Gioachino Rossini (1792–1868)

The Barber of Seville

An opera in two acts

Critical edition by Alberto Zedda

Libretto by Cesare Sterbini after the play Le Barbier de Séville by Beaumarchais

English translation by Amanda and Anthony Holden

Count Almaviva ..................................................................................Bruce Ford tenorBartolo, a doctor in Seville ..........................................................Andrew Shore baritoneRosina, ward of Doctor Bartolo..............................................Della Jones mezzo-sopranoFigaro, a barber ................................................................................Alan Opie baritoneDon Basilio, music teacher and hypocrite................................................Peter Rose bassFiorello, Count Almaviva’s servant ..................................................Peter Snipp baritoneBerta, Bartolo’s housekeeper ..............................................Jennifer Rhys-Davies sopranoAn Officer ....................................................................................Christopher Ross bass

English National Opera Orchestra and ChorusStephen Harris chorus masterJames Holmes assistant conductor

Gabriele Bellini

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COMPACT DISC ONE Time Page

‘You need only mention money’ 7:59 068Figaro, the Count‘In my heart a gentle voice’ 2:37 070Rosina‘I can be so demure’ 3:57 070Rosina‘Oh yes, I’ll win the day’ 0:39 071Rosina ‘Good morning, Signorina’ 0:45 071Figaro, Rosina‘Where would I be without him?’ 1:07 072Rosina, Bartolo‘Who’d know?’ 1:38 072Bartolo, Basilio‘Innuendo, the slightest whisper’ 3:47 073Basilio‘Well, what d’you think?’ 0:27 074Basilio, Bartolo‘So that’s it!’ 2:45 074Figaro, Rosina‘Then it’s me…’ 5:25 076Rosina, Figaro‘Now I feel so much better’ 1:51 077Rosina, Bartolo ‘Dare you offer such excuses’ 6:44 078Bartolo

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Overture 7:04 060

Act I (Beginning)‘Piano, pianissimo’ 3:22 060Fiorello, Chorus, the Count‘See how the smile of heaven’ 4:18 060The Count‘Hey, Fiorello!’ 1:16 061The Count, Fiorello, Chorus‘Thank you, thank you’ 1:47 061Chorus, Fiorello, the Count ‘What common people!’ 0:28 062The Count, Fiorello‘La la la lera’ 4:39 062Figaro‘Ah ha! What could be better?’ 2:05 063Figaro, the Count‘I cannot see him anywhere’ 1:37 064Rosina, the Count, Bartolo, Figaro‘Poor little innocent creature!’ 2:40 065The Count, Figaro, Bartolo‘My poor heart is so full of emotion’ 3:09 067The Count, Rosina, Figaro‘What’s happened?’ 1:05 067The Count, Figaro

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‘I don’t think we have met, Sir’ 2:50 088Bartolo, the Count‘Come along, my dear, and listen’ 1:05 090Bartolo, Rosina, the Count‘When a heart for love is yearning’ 7:26 090Rosina, the Count‘What a talent. Bravissima!’ 0:40 091The Count, Rosina, Bartolo‘Sweet little seventeena’ 0:59 092Bartolo ‘Bravo, Signor Figaro’ 3:07 092Bartolo, Figaro, Rosina, the Count‘Don Basilio…’ 6:38 094Rosina, the Count, Figaro, Bartolo, Basilio‘Now then, Signor Don Bartolo’ 3:58 096Figaro, Bartolo, the Count, Rosina‘Things can’t get much worse’ 0:41 098Bartolo‘He wouldn’t trust his mother!’ 0:29 098Berta‘First the Doctor wants to marry’ 3:23 098Berta

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COMPACT DISC TWO Time Page

Act I (Conclusion)‘Where’s the master?’ 3:09 079The Count, Bartolo‘Ah! How long ’til I behold her?’ 6:07 080The Count, Bartolo, Rosina, Berta, Basilio‘Stop this noise!’ 1:14 084Figaro, Bartolo, the Count, Rosina, Berta, Basilio‘Someone is at the door’ 1:13 085Rosina, Berta, Figaro, the Count, Bartolo, Basilio, Chorus‘Pay attention! What’s the trouble?’ 1:24 085Chorus, Bartolo, Figaro, Basilio, Berta, the Count, Rosina, Officer‘Frozen and motionless’ 3:26 086Rosina, the Count, Bartolo, Basilio, Figaro‘If I may…’ 4:54 086Bartolo, Berta, Basilio, Chorus, Rosina, the Count, Figaro

Act II‘I’ve got to find the answer!’ 0:54 087Bartolo‘Peace and joy be yours for ever’ 2:25 087The Count, Bartolo

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Gioachino Rossini: The Barber of Seville

Rossini wrote forty operas – all of them beforehis thirty-eighth birthday, when he hadanother thirty-eight years to live – yet a timecame when he was remembered as thecomposer of just one: Il barbiere di Siviglia.

This was particularly true while Wagnerreigned supreme, between about 1880 and1920. Rossini’s many serious operas hadvanished, but for an occasional Guillaume Tellor Mosè in Egitto, put on as a salute to anancient monument. Even comic operas likeL’italiana in Algeri and La Cenerentola, highlysuccessful in their own day and again in ours,were in eclipse. Il barbiere, though, marchedon. Some of the best singers appeared in it,year in year out, and some of the worst; in the1940s it was even transformed into aBroadway musical under the title Once OverLightly, with a Russian Figaro; that turned outto be once too often.

What is it about the work that keeps itevergreen? Success now and then feeds onitself: of two plays or operas that are equallyeffective in the theatre, one may appear moreoften than the other because it is betterknown. Il barbiere was already famous when

the hard-pressed Rossini and his librettistCesare Sterbini chose it in the freezing Romewinter of 1816. Beaumarchais’s comedy of1775 still held the stage, as it does in Francetoday, helped by the triumph of its sequel LeMariage de Figaro (the third play in the trilogy,La Mère coupable (The Guilty Mother), is adreary, sententious melodrama: Beaumarchaishad been overtaken by the French Revolutionwith its demand for earnestness). A neatcomedy of intrigue, the original Barbiere wasbased on the conventions of comic opera –going back to the old Italian comedy of masks,with the hoariest of plots, the old guardianwhose plan to marry his pretty ward is foiledby young love and clever servants; indeedBeaumarchais had originally written it with‘numbers’ to be set to music.

What made the play special was thecharacter of Figaro, the sort of uncommoncommon man who was to play a large part inthe revolution: jack-of-all-trades, living on hiswits, irreverent to his social superiors (up to apoint while their superiority lasted), but alwaysready to score off them or exploit them. In theopera, where words have to be far fewer than in

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‘So this pupil Alonso’ 1:05 099Bartolo, Basilio‘By force or persuasion’ 2:52 100Bartolo, RosinaThunderstorm 3:09 101‘We’ve made it’ 1:13 101Figaro, the Count, Rosina‘Almaviva, not Lindoro!’ 7:08 102Rosina, Figaro, the Count ‘Ah! That’s all we needed!’ 0:25 103Figaro, the Count, Rosina‘Don Bartolo’ 1:00 104Basilio, Figaro, the Count, Rosina‘Don’t move a muscle!’ 0:19 105Bartolo, Figaro, Officer, the Count‘I love a happy ending’ 2:27 105Figaro, Berta, Bartolo, Basilio, Chorus, Rosina, the Count

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composers to write operas on the same subjectand even to the same libretto. Rossini andSterbini used a fresh title for their version (itwas originally called Almaviva – suitably, forthe star was the tenor Manuel García) andplayed down the famous sneezing and yawningscene; these too were normal precautionarymeasures. They also printed a note stating thatthey meant no discourtesy to the old composer(who was to die just over three months later).What seems to have happened is that youngerrival composers were jealous, and fans of a rivaltheatre objected to the Teatro Argentina’strespassing into comic opera. The main reasonfor catcalls on the first night, however, was thatthe usual rush of an Italian opera season was,this time, a little too rushed.

The Argentina, the leading Rome theatre, atthis season would normally have given seriousopera. Its reason for asking Rossini to write Ilbarbiere rather than some classical drama wasmoney: with the fall of Napoleon and thereturn of the Pope the theatre had lost itssubsidy, Europe-wide economic crisis hadthinned its audience, and comic opera wasrelatively cheap. Even then the owner-impresario could get a company together onlythrough frantic efforts (‘it’s enough to make apoor wretch like me spit blood’, he wrote) and

the spoken play, his character is somewhatcoarsened; his plebeian vigour comes throughin his famous entrance aria, and so does hisstraightforward interest in money.

With the play well established, the reigningItalian composer of the late eighteenthcentury, Giovanni Paisiello, turned it into acomic opera. This Barbiere made its successfulway round Europe after its first performancein St Petersburg in 1782. Rare festivalperformances today show it to be a delightful,melodious work, with a funny scene forBartolo’s sneezing and yawning servants, butrather mild and slow for modern taste. By thetime Rossini got to work in 1816 Paisiello wasout of date, in part because music did go outof date within thirty years or so (a repertory ofworks played again and again was only justbeginning to form), but especially because theyears of the revolutionary and Napoleonicwars had brought forward a new audience:more middle-class, more impatient, moreeager for strong sensations, especially thosecalled up by military music. Rossini providedjust what it wanted: fizz, zing, speed.

The story that the first night of his Barbierewent wrong because part of the audience wasoutraged on Paisiello’s behalf is almost certainlya canard. It was common form for several

the season opened over a fortnight late.Rossini had not quite four weeks to work inbetween getting the first part of the libretto(25 January) and playing continuo, as was thecustom, on the first night (20 February). For acomposer this was nothing out of theordinary; but the cast was probably tired outby the initial rush to get the season off theground (with L’italiana in Algeri), and then byhaving to learn and rehearse Il barbiere whilegiving five performances a week. A stumblingfirst night gave way to success on later nights;after that the opera never looked back.

As well as the best of pure comic operas inthe Italian tradition, it was almost the last.Rossini’s own Cenerentola of the followingyear, and the best remembered of Donizetti’scomic works (L’elisir d’amore and DonPasquale), have a touch of sentiment or realismthat speaks for a more cushioned epoch.Comic opera was in any case going out ofvogue: it didn’t suit the timorous, starchymonarchical regimes brought back after thefall of Napoleon, or the newly respectablemiddle classes. But Il barbiere distils the oldcomic-opera temper, a union of thenonsensical and the ruthless.

‘He plays with everything: with wit, withphilosophy, with drama, with actors and

audience, with the whole theatre’. So BernardShaw wrote about Oscar Wilde. It could havebeen written of Rossini. (‘Playing withphilosophy’ may seem beyond his grasp – untilwe recall that Hegel and Schopenhauer, solemnphilosophers both, thought highly of hisworks.) From start to finish he plays with theconventions of opera – as he had already donein Il turco in Italia, where one of the charactersis writing the work as it goes along. In theopening scene of Il barbiere the serenadingmusicians’ thanks mock the habit operaticchoruses have of making loud and repetitivenoises when they need to go off on tiptoe, andso, at the end of the opera, does the trio inwhich Figaro and the lovers keep announcingthat very same need until the escape laddereludes them. Here are the ancestors of thepolicemen’s chorus in The Pirates of Penzance,‘With catlike tread’. The characters use theatreto mock their own theatrical selves.

In the earlier part of that final trio, Figarotakes off Almaviva’s mooning melismas as thetenor celebrates his and Rosina’s love insteadof making good their escape. This is only thelast of several musical parodies. Bartolo’s littlesong in the lesson scene takes off the music hewould have heard in his youth (pre-Paisiello),and his big aria with its elaborate repetitions


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uses musical pedantry to make fun of the dryold lawyer. The supposed abbé’s endless tidingsof peace and joy at the start of the lesson scenemock the setting of those words in many apiece of church music. Figaro’s opening praiseof gold, launching his and Almaviva’s duet inthe opening scene, echoes the portentous lineof serious opera.

Parody cuts deepest where Rossini takes offhis own favourite devices: the crescendomoving to a noisy outburst, and the elegantcoloratura cascade of notes. In his seriousoperas both can seem arbitrary. In Il barbiere,the most striking use of the crescendo is foronce wholly suited to what is being sungabout: the gradual spread of calumny inBasilio’s celebrated aria. To accustomed ears –as those of the original audience were – thecrescendo, with sudden modulationsculminating in the ‘cannon-shot’, appears tobe saying, ‘You see? I can after all be aptlydramatic with the best’: a further subtleguying of the opera form.

As for coloratura Rossini uses it in thetenor’s opening aria to bring out Almaviva asurgent and graceful lover (the opera originallyended, just before the final line-up, with anelaborate display piece for García, but it heldup the action; the composer later gave it to his

mezzo Cinderella to bring down the curtainon that work). Elsewhere coloratura serves toetch Rosina’s personality in sharp outline. Herfamous first aria tells of her assertiveness, hercontrol of the situation and her capacity forironic comment. This is no lovelorn romanticheroine: glittering and sardonic in her duetwith Figaro, all charm and pleasure in thelatter part of the lesson scene (while Bartolo isasleep), she is, as we can hear, a self-possessedyoung thing. (In the nineteenth centurysopranos appropriated the part and turned thelesson scene into a concert larded witheverything from ‘Home, Sweet Home’ toextravagant variations. The part belongs to amezzo such as Della Jones – the natural Italianwoman’s voice, Rossini called it – and thelesson scene works best just as it stands.)

The heart of the opera is in two supremelycrafted ensemble pieces – the long Act I Finaleand the quintet in which the other fourprincipals urge the flummoxed Don Basilio togo back to bed. Each is held together throughchanging sections by a perky, recurrent littlemusical phrase and a steady, headyaccompaniment. The sight and sound ofhuman beings behaving like machines is onepotent cause of laughter in the theatre. By theheadlong last section of the Act I Finale it

brings what was called at the time theRossinian ‘organised and total madness’. Thereand elswhere Rossini lets music take over andtakes little notice of the words. Yet words dotell, as when everyone tells Basilio he looks‘yellow’, or Rosina blows the gaff on her‘docility’ with the one little word ‘but’. Withan all-Italian cast making the most of theoriginal words (not often to be had inrecordings aimed at an international audience)such things can tell. So they can in a differentway when, as here, all the singers share alanguage – even though the language is of acountry where the temperature just beforedawn rarely encourages serenades.

© 1995 John Rosselli

SynopsisCount Almaviva, a Spanish nobleman, is inlove with Rosina, the ward of Dr Bartolo, anold doctor who is planning to marry herhimself.

Act IThe street outside Dr Bartolo’s houseThe Count, helped by a group of musicians,serenades Rosina. In order to gain anintroduction he enlists the help of Figaro, the

barber, who prides himself on his ability tomanage the affairs of the town. In spite of thewatchfulness of her guardian, Rosina contrivesto drop a letter from the balcony asking hisname and returning his affections. The Countthen makes himself known to Rosina as a poorstudent called Lindoro. Figaro suggests that inorder to gain admittance to the house heshould instead pretend to be a soldier billetedon Dr Bartolo, and drunk.

Inside the houseDr Bartolo has heard rumours aboutAlmaviva’s interest in Rosina and decides tomarry her immediately. Rosina’s singingteacher, an unscrupulous priest called DonBasilio, is Bartolo’s confidant. Almaviva,disguised as a drunken soldier, arrives to takeup his ‘billet’ with the Doctor. Rosina isdelighted when she recognises her admirer.The Doctor’s annoyance at the behaviour ofthe ‘soldier’ causes such a row that the militiaare called in by the neighbours. The Countescapes arrest, much to Bartolo’s fury.

Act IIIn Bartolo’s house, later the same dayThe Count assumes another disguise andenters the house as Don Alonso, a music


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teacher. He says he has come to give Rosina asinging lesson in place of Don Basilio who hassuddenly fallen ill. Under cover of the lessonthe Count tells Rosina that he will elope withher at midnight. Figaro, who has arrived toshave Bartolo, manages to obtain the keys tothe balcony. To their consternation Basilioappears, but when a purse of money is slippedinto his hand he maintains the pretence ofbeing ill. Bartolo, having become suspicious,catches the lovers in compromisingconversation.

When the Count and Figaro have goneBartolo confronts Rosina with the letter sheaddressed to Lindoro and catches her bysurprise when he tells here that Lindoro is theagent of Almaviva, who wants to marry heronly for her money. She agrees to marryBartolo at once and tells him about theplanned elopement.

Figaro and the Count return at theappointed time and climb in through thewindow. Rosina repulses ‘Lindoro’ until shelearns that he is himself Almaviva. She fallsinto his arms. They are unable to escape,however, as Bartolo has removed their ladderfrom outside the window. Basilio, arrivingwith a notary who is to marry Rosina to herguardian, is easily bribed to witness instead the

marriage of Rosina to the Count. Bartoloarrives too late and is obliged to acknowledgethat he has lost her.

Over the past decade Bruce Ford hasestablished himself as an all-round bel cantotenor, specialising in the Mozart and Rossiniroles. After he made his Pesaro Rossini Festivaldebut in 1990, performing the role ofAgorante in Ricciardo e Zoraide at less thantwo weeks’ notice, he has been a regular guestin Pesaro (singing in Rossini’s Otello, Ilbarbiere di Siviglia and Zelmira), as well as inmost of the leading opera houses and festivalsin Europe. His appearances at Teatro allaScala, Milan have included the roles of Uberto(La donna del lago under Riccardo Muti),Paolo Erisso (Maometto II ) and Belmonte (DieEntführung aus dem Serail under WolfgangSawallisch). With The Royal Opera, CoventGarden he has enjoyed a string of successesincluding Almaviva, the title role in Mozart’sMitridate, re di Ponto, Ferrando in Così fantutte, Lindoro in L’italiana in Algeri andOsiride in Mosè in Egitto. Acclaimedappearances elsewhere include San Francisco,Chicago, Los Angeles, Salzburg, Amsterdam,Zurich, Lausanne, Geneva, Catania, Florence,Naples, Bologna, Lyon and Paris.

Bruce Ford has made numerous recordingsfor Opera Rara, including Meyerbeer’s Ilcrociato in Egitto, Mayr’s Medea in Corinto,Donizetti’s Rosmonda d’Inghilterra, Rossini’sRicciardo e Zoraide, Pacini’s Maria, reginad’Inghilterra, Donizetti’s Maria de Rudenz,Rossini’s Otello and two recital discs (Rossini –Three Tenors and Romantic Heroes). ForChandos/Peter Moores Foundation he hasrecorded a solo recital of operatic arias.

Andrew Shore is acknowledged as Britain’spremier buffo baritone and an outstandingsinger/actor. He has worked for all the majorBritish companies, including English NationalOpera, The Royal Opera, Covent Garden,Opera North, Glyndbourne Festival Opera,Scottish Opera and Welsh National Opera, aswell as having appeared abroad with SanDiego Opera, New Israeli Opera, Opéranational de Paris-Bastille, Opéra-Comique,Gran teatre del Liceu in Barcelona, as well asin Lyon, Nantes, Montpellier, Copenhagen,Amsterdam, Vancouver and Ottawa. His manyengagements have included the title roles ofWozzeck, Falstaff, King Priam, Gianni Schicchiand Don Pasquale, as well as Dulcamara (TheElixir of Love), Don Alfonso (Così fan tutte),Figaro (Le nozze di Figaro), Papageno, King

Dodon (Le Coq d’or), Leandro (The Love forThree Oranges), Dikoy (Kát’a Kabanová), DrKolenaty (The Makropulos Affair), Shishkov(From the House of the Dead), Frank (DieFledermaus), Baron (La Vie parisienne), BaronTrombonok (Il viaggio a Reims), Varlaam (BorisGodunov) and Faninal (Der Rosenkavalier). Hisrecordings for Chandos/Peter MooresFoundation comprise The Elixir of Love, DonPasquale, La bohème and highlights from DerRosenkavalier in addition to this Barber ofSeville and the award-winning Tosca.

Della Jones was born in Neath and studied atthe Royal College of Music where she wonmany prizes, including the Kathleen FerrierMemorial Scholarship. She has appeared withall the major British opera companies,throughout Europe, in the United States,Canada, Russia and in Japan. Her repertoireincludes the title roles in Ariodante, LaCenerentola and Carmen, as well as Rosina,Herodias (Salome), Baba the Turk (The Rake’sProgress), Marcellina, Adalgisa, Dido (LesTroyens and Dido and Aeneas), Donna Elvira,Brangäne, Hermia (A Midsummer Night’sDream), Juno (Semele) and the Hostess (BorisGodunov). Della Jones broadcasts regularly onradio and television and her many recordings


Chicago and New Israeli Opera, Tel Aviv, aswell as in San Francisco, Amsterdam, Cologne,Rome and Seattle. He has also appeared atmajor festivals throughout the world, such asthose in Orange, Aix-en-Provence, Istanbul,Bregenz and the Maggio musicale in Florence.Among his many roles are Ramfis, Fasolt,Hunding, Pimen, Osmin, King Marke, BaronOchs, Rocco, Bottom (A Midsummer Night’sDream), Banquo (Macbeth), Cadmus/Somnus(Semele), Gessler (Guillaume Tell), Mustafa(L’italiana in Algeri) and Walter (LuisaMiller). His many recordings include, forChandos/Peter Moores Foundation, theaward-winning Tosca and this Barber ofSeville.

Jennifer Rhys-Davies, who studied at theTrinity College of Music, has achieved greatsuccess in such major roles as Donna Anna,Donna Elvira, Konstanze, Queen of the Night,Pamina, Miss Jessel (The Turn of the Screw),Lucia, Semiramide and Lady Macbeth. At TheRoyal Opera, Covent Garden she has appearedas Berta (Il barbiere di Siviglia), Amaltea (Mosèin Egitto), Clorinda (La Cenerentola),Marianne (Der Rosenkavalier), Anna (Nabucco)and Sieglinde, and she sang the ItalianSoprano (Capriccio) at the Glyndebourne

Festival, Olympia, Antonia and Giulietta (LesContes d’Hoffmann) at the Grand théâtre deLimoges and Elisabetta (Maria Stuarda) atTheater Basel. Her recordings include, forOpera Rara, Mercadante’s Orazi e Curiazi and,for Chandos/Peter Moores Foundation,highlights from Der Rosenkavalier.

The Chorus of English National Opera is oneof the Company’s finest assets. In countlessEnglish National Opera productions they havethrilled audiences with the power of theirsinging and the intensity of their acting. Thereare sixty-eight choristers and the wide range ofskills and experience they bring toperformances distinguish any production inwhich they appear. Particular triumphs for theChorus have been Prokofiev’s War and Peace,Shostakovich’s Lady Macbeth of Mtsensk,Britten’s Billy Budd and Peter Grimes,Mussorgsky’s Boris Godunov, Bizet’s Carmenand Verdi’s Otello. Their recording of the last,in Jonathan Miller’s production conducted byMark Elder, is soon to appear on Chandosunder the sponsorship of the Peter MooresFoundation, as are their recordings of Wertherwith Dame Janet Baker under Sir CharlesMackerras and of the celebrated ‘Ring Cycle’conducted by Sir Reginald Goodall. Other

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include Alcina, L’incoronazione di Poppea, Laclemenza di Tito and Korngold’s Die Kathrin.She has recorded Gabriella di Vergy(Donizetti), Maria Padilla (Donizetti), Ilcrociato in Egitto (Meyerbeer), Ricciardo eZoraide (Rossini) and Dinorah (Meyerbeer) forOpera Rara, and her numerous recordings onChandos include Sancta Susanna (Hindemith),The Bear (Walton) and, for Chandos/PeterMoores Foundation, La traviata and JuliusCaesar.

Born in Cornwall, Alan Opie studied at theGuildhall School of Music and the LondonOpera Centre. He was Principal Baritone withEnglish National Opera for many seasons andhas sung with all the major British operacompanies. Abroad he has appeared at theopera houses of Bayreuth, Paris (Opéranational de Paris-Bastille), Amsterdam,Chicago, Milan (Teatro alla Scala), Munich(Bavarian State Opera), Berlin, Vienna,Brussels and New York (The MetropolitanOpera). Recently he appeared as Beckmesser(Die Meistersinger von Nürnberg) at ViennaState Opera and was invited to return asBalstrode in Peter Grimes, a roll he also sang inChandos’ Grammy Award-winning recordingof the opera. He appeared in Luciano Berio’s

Outis at La Scala, Milan, and the Châteletthéâtre musical in Paris and as Mr Redburn insemi-staged performances of the two-actversion of Britten’s Billy Budd at London’sBarbican Centre, a production subsequentlyrecorded by Chandos for release in Spring2000. Other appearances on Chandos includeThe Rape of Lucretia (Britten), Martin’s Lie(Menotti), Troilus and Cressida (Walton), aswell as Mary Stuart, Pagliacci and La bohème(all in collaboration with the Peter MooresFoundation).

Born in Canterbury, Peter Rose read music atthe University of East Anglia and studied withEllis Keeler at the Guildhall School of Musicand Drama. He made his operatic debut as theCommendatore with Glyndebourne FestivalOpera in Hong Kong in 1986 and wasprincipal bass with Welsh National Operauntil 1989. He has performed under theworld’s foremost conductors and appearedwith all the major British opera companies,including The Royal Opera, Covent Garden,English National Opera and Scottish Opera.Abroad he has sung at The MetropolitanOpera, New York, the Opéra-Comique, Paris,German State Opera, Berlin, Hamburg StateOpera, Vienna State Opera, Lyric Opera of


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Chandos/Peter Moores Foundation recordingsare Mary Stuart, Julius Caesar, Rigoletto(Jonathan Miller’s production) and Latraviata.

Critically and publicly acclaimed, TheOrchestra of English National Opera, LeaderBarry Griffiths, has in recent years receivedseveral prestigious awards, including the RoyalPhilharmonic Society Music Award and anOlivier Award for Outstanding Achievement inOpera. The Orchestra is at the heart of theCompany’s artistic life and as well as operaperformances in the London Coliseum hasalso been seen on the concert platform. Inaddition many of the players participate in thework of the Baylis Programme of theCompany’s education and outreachdepartment and with the English NationalOpera Studio in the development of newoperas, in particular Mark Anthony Turnage’sThe Silver Tassie which has its world premierein February 2000. The Orchestra appears inmany recordings, including the celebrated‘Ring Cycle’ conducted by Sir ReginaldGoodall, which is soon to appear on Chandosunder the sponsorship of the Peter MooresFoundation, as are its recordings of Wertherwith Dame Janet Baker under Sir Charles

Mackerras and of Verdi’s Otello under MarkElder. Other recordings for Chandos/PeterMoores Foundation are Mary Stuart, JuliusCaesar, Rigoletto (Jonathan Miller’sproduction) and La traviata.

Born in Legnago near Verona Gabriele Belliniwas educated at the Conservatorio BenedettoMarcello in Venice and the ConservatorioGiuseppe Verdi in Milan, where he graduatedin horn, composition and conducting. Hecontinued his conducting studies with FrancoFerrara, Hermann Scherchen, SergiuCelibidache and Hans Swarowsky. Hisprofessional engagements have ranged acrossEurope and the United States and includedcollaborations with Claudio Abbado at theTeatro alla Scala, Milan for many seasons. Hehas served as Artistic Director and MusicalDirector of Connecticut Grand Opera and asguest conductor of the American SymphonyOrchestra and at the Cincinnati Opera House.An association with the Orkest van Hetoostenat Opera Forum in Enschede, TheNetherlands that began in 1988 culminated inhis appointment as Chief Conductor of theOrchestra from 1992 to 1997, during whichperiod he conducted performances of Macbeth,Stiffelio, Rigoletto, Il trovatore, Falstaff,

Madama Butterfly, Tosca and Wozzeck, amongothers. In 1998 he opened the DonizettiFestival in Bergamo with L’elisir d’amore andreturned to conduct La bohème. RecentlyGabriele Bellini has also conducted Norma inGroeningen, La rondine at the Teatro del

Giglio in Lucca, Linda di Chamounix inBologna and I puritani in Spain. He has alsoconducted Eine Nacht in Venedig at KomischeOper, Berlin and appeared at the NorwegianOpera, Oslo, The Royal Opera, CoventGarden as well as in Göteborg and Leipzig.

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PETER MOORES, CBE, DL

Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giantLittlewoods mail order, chain store and football pools group. He was educated at Eton andChrist Church, Oxford, where he read modern languages – he was already fluent in Germanand Italian. It was opera, however, which was his great love. He had worked at GlyndebourneFestival Opera before going up to university, and after Oxford he became a productionstudent at the Vienna State Opera, combining this with a three-year course at the ViennaAcademy of Music and Dramatic Art.

By the end of his third year at the Academy Moores had produced the Vienna premiere ofBritten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo OperaHouse, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operaticcareer. At this point he received a letter from his father asking him to come home as he wasneeded in the firm. Family loyalty being paramount, he returned to Liverpool.

By 1977, he was Chairman of Littlewoods. Three years laterhe stepped down from the post, although still remaining onthe Board. He was a director of a merchant bank from 1978to 1992. From 1981 to 1983 he was a Governor of the BBC,and a Trustee of the Tate Gallery from 1978 until 1985; from1988 to 1992 he was a director of Scottish Opera. He receivedthe Gold Medal of the Italian Republic in 1974, an HonoraryMA from Christ Church, Oxford, in 1975, and was made anHonorary Member of the Royal Northern College of Music in1985. In May 1992 he became Deputy Lieutenant ofLancashire, and in the New Year’s Honours List for 1991, hewas made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL

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Whilst still in his early twenties, Peter Moores had started giving financial support to variousyoung artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evansamongst them – were to become world-famous. In 1964 he set aside a substantial part of hisinheritance to establish the Peter Moores Foundation, a charity designed to support thosecauses dear to his heart: to make music and the arts more accessible to more people; to giveencouragement to the young and to improve race relations.

PETER MOORES FOUNDATIONIn the field of music, the main areas supported by the Peter Moores Foundation are:

the recording of operas from the core repertory sung in English translation; the recordingor staging of rare Italian opera from the bel canto era of the early nineteenth century(repertoire which would otherwise only be accessible to scholars); the nurturing ofpromising young opera singers; new operatic work.

The Foundation awards scholarships annually to students and post-graduates for furtheringtheir vocal studies at the Royal Northern College of Music. In addition, project awards may begiven to facilitate language tuition in the appropriate country, attendance at masterclasses orsummer courses, specialised repertoire study with an acknowledged expert in the field, orpost-graduate performance training.

The Foundation encourages new operatic work by contributing to recordings, thepublication of scores and stage productions.

Since 1964 the Foundation has supported the recording of more than forty operas, many ofthese sung in English, in translation. It has always been Peter Moores’s belief that to enjoy operato the full, there must be no language barrier, particularly for newcomers and particularly in thepopular repertoire – hence the Opera in English series launched with Chandos in 1995. Thisincludes many of the English language recordings funded by the Foundation in the 1970s and1980s and is now the largest recorded collection of operas sung in English.


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Alan Opie as Figaro(English National Opera)

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Della Jones as Rosina(English National Opera)

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Gioachino Rossini: Der Barbier von Sevilla

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Rossini hat 40 Opern geschrieben – alle vorseinem 38. Geburtstag, als er noch weitere 38Jahre zu leben hatte -– und doch gab es eineZeit, als man sich seiner nur als Komponisteiner einzigen Oper erinnerte: dem Barbiere diSiviglia.

Das traf besonders in der Epoche zu, dieWagner unumschränkt beherrschte, ungefährzwischen 1880 und 1920. Die vielen ernstenOpern Rossinis waren in der Versenkungverschwunden, bis auf die eine oder andereAufführung von Guillaume Tell oder Mosè inEgitto. Selbst komische Opern wie L’italiana inAlgeri und La Cenerentola, überaus erfolgreichzu ihrer und wieder in unserer Zeit, warenuntergegangen. Der Barbiere dagegen setzteunbeirrt seinen Siegeszug fort. Einige derbesten Sänger traten Jahr um Jahr darin auf,ebenso einige der schlechtesten; nach 1940wurde die Oper gar unter dem Titel OnceOver Lightly zum Broadway-Musicalverarbeitet, mit einem russischen Figaro; dasaber war wohl des Guten zuviel.

Was hat dieses Werk an sich, das es zumDauerbrenner macht? Erfolg nährt sich hinund wieder selbst: Es kann vorkommen, daß

von zwei Werken, sei es Drama oder Oper, diegleichermaßen bühnenwirksam sind, eineshäufiger auf dem Programm steht als dasandere, weil es bekannter ist. Der Barbiere warlängst berühmt, als der ewig unter Druckstehende Rossini und sein Librettist CesareSterbini ihn im kalten römischen Winter desJahres 1816 als Thema wählten. Beaumarchais’Komödie von 1775 behauptete sich nach wievor auf der Bühne und tut es in Frankreich bisauf den heutigen Tag. Dazu trug der Triumphder Fortsetzung mit dem Titel Le Mariage deFigaro bei. (Das dritte Stück der Trilogie, LaMère coupable (Der neue Tartuffe), ist einödes, salbungsvolles Melodram: Beaumarchaiswar von der französischen Revolution undderen Forderung nach Ernsthaftigkeiteingenommen worden.) Der Original-Barbiere,eine raffinierte Intrigenkomödie, stützte sichauf die Konventionen der komischen Oper –Rückbesinnung auf das alte italienischeFastnachtsspiel, und das mit eineraltbekannten Handlung vom greisenVormund, dessen Plan, sein hübsches Mündelzu heiraten, von junger Liebe und gewitztenBediensteten vereitelt wird; Beaumarchais

hatte ursprünglich sogar “Nummern”dazugeschrieben, die vertont werden sollten.

Was das Stück zu etwas Besondere machte,war die Figur des Figaro, eines ungewöhn-lichen gewöhnlichen Mannes jener Sorte, diein der Revolution eine bedeutende Rollespielen sollten: Hansdampf in allen Gassen, dersich mit Verstand durchs Leben schlägt, sozialHöhergestellten gegenüber respektlos ist (ingewissen Grenzen, solange sie nochhöhergestellt waren), und immer bereit, ihneneins auszuwischen oder sie auszunutzen. In derOper, die nicht soviele Worte macht wie dasSchauspiel, wird seine Figur ein wenigvergröbert; seine plebejische Vitalität schlägtdurch in seiner berühmten Auftrittsarie, ebensosein unumwundenes Interesse am Geld.

Nachdem das Theaterstück bestenseingeführt war, verwandelte Giovanni Paisiello,der führende italienische Komponist desausgehenden 18. Jahrhunderts, es in einekomische Oper. Dieser Barbiere machte nachseiner Uraufführung 1782 in St. Petersburgerfolgreich in ganz Europa die Runde. Dieheute seltenen Darbietungen anläßlich vonFestspielen zeigen, daß es sich um einvergnügliches, melodisches Werk handelt, miteiner komischen Szene für Bartolos niesendeund gähnende Dienerschaft, aber nach

gegenwärtigem Geschmack eher lahm undschwach. Als sich Rossini 1816 an die Arbeitmachte, war Paisiello überholt, teilweisedeshalb, weil Musik grundsätzlich innerhalbvon etwa dreißig Jahren aus der Mode kam (einRepertoire von immer wieder gespieltenWerken begann sich gerade erst zu bilden), abervor allem deshalb, weil die Jahre der Revolutionund der napoleonischen Feldzüge ein neuesPublikum hervorgebracht hatten: bürgerlicher,ungeduldiger, eifriger auf starke Empfindungenerpicht, insbesondere auf jene, die Militärmusikhervorruft. Rossini lieferte genau das, was esverlangte: Frische, Schmiß, Tempo.

Die Geschichte, daß die Premiere seinesBarbiere schiefgelaufen sei, weil sich dasPublikum im Namen Paisiellos empört habe,ist höchstwahrscheinlich eine Ente. Es wardamals allgemein üblich, daß mehrereKomponisten Opern zum gleichen Thema, jasogar nach ein und demselben Librettoschrieben. Rossini und Sterbini verwendetenfür ihre Fassung einen neuen Titel (sie hießzunächst Almaviva – passenderweise, denn derStar war der Tenor Manuel García) undspielten die berühmte Nies- und Gähnszeneherunter; das waren normale Vorsichtsmaß-nahmen. Außerdem ließen sie einen Zetteldrucken, auf dem stand, daß sie dem alten


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neuerdings auf Achtbarkeit bedachtenBürgertum. Der Barbiere jedoch destilliert denCharakter der komischen Oper alten Stilsheraus, ein Zusammenfinden des Unsinnigenmit dem Rücksichtslosen.

“Er spielt mit allem: mit Witz, mitPhilosophie, mit Dramatik, mit Darstellernund Publikum, mit dem ganzen Theater.” Soschrieb George Bernard Shaw über OscarWilde. Und so hätte man auch über Rossinischreiben können. (Es mag den Anscheinhaben, als entziehe sich das Spiel “mitPhilosophie” seinem Zugriff – bis wir unserinnern, daß Hegel und Schopenhauer,beides ernsthafte Philosophen, seine Werkesehr schätzten.) Von Anfang bis Ende spielt ermit den Konventionen der Oper - wie er esbereits in Il turco in Italia getan hatte: Darinschreibt eine der Figuren das Werk, währendes abläuft. In der Eröffnungsszene des Barbiereverhöhnt die Danksagung der Musiker, die einStändchen bringen, die Angewohnheit vonOpernchören, lautstarke und wiederholteGeräusche von sich zu geben, während sieeigentlich auf Zehenspitzen abzugehen hätten.Genauso hält es am Ende der Oper das Trio,in dessen Verlauf Figaro und die Liebendensolange die Notwendigkeit beteuern, leise zusein, bis ihnen die Leiter zur Flucht abhanden

kommt. Sie alle sind die Vorläufer desPolizistenchors in The Pirates of Penzance, dersich seines “katzengleichen Schritts” rühmt.Die Figuren nutzen das Theater aus, um sichüber ihre eigene Theatralik lustig zu machen.

Zu Anfang dieses abschließenden Triosübernimmt Figaro Almavivas schwärmerischeMelismen, mit denen der Tenor seine undRosinas Liebe feiert, anstatt ihre Fluchtsicherzustellen. Dies ist die letzte vonmehreren musikalischen Parodien. BartolosLiedchen in der Gesangsstundenszene bedientsich der Musik, die er wohl in seiner Jugend(vor Paisiello) gehört hat, und seine große Ariemit den kunstvollen Wiederholungen nutztmusikalische Pedanterie, um den trockenenalten Rechtsgelehrten zu verspotten. Dieendlosen Botschaften von Frieden und Freude,die der vermeintliche Abbé von sich gibt,parodieren die Vertonung solcher frommenWorte in manch einem Werk derKirchenmusik. Figaros Loblied auf das Gold,das in der ersten Szene den Auftakt zu seinemDuett mit Almaviva bildet, läßt denunheilverkündenden Tonfall ernster Opernanklingen.

Am schärfsten wird die Parodie dort, woRossini die von ihm selbst bevorzugtenKunstgriffe aufs Korn nimmt – das Crescendo,

Komponisten (der nur drei Monate spätersterben sollte) nicht zu nahe treten wollten.Passiert war jedoch offenbar folgendes: Rossinihatte sich den Zorn jüngerer, rivalisierenderKomponisten zugezogen, und die Anhängereines konkurrierenden Theaters nahmen übel,daß sich das Teatro Argentina auf das Gebietder komischen Oper vorgewagt hatte. Haupt-grund für die Buhrufe am Premierenabendwar jedoch, daß man es mit der üblichen Eileder italienischen Opernsaison diesmal etwas zuweit getrieben hatte.

Am Teatro Argentina, dem führendenTheater Roms, wären um diese Zeitnormalerweise ernste Opern gelaufen. Daßman Rossini gebeten hatte, anstelle einesklassischen Dramas den Barbiere zubearbeiten, hatte finanzielle Gründe: Mit demSturz Napoleons und der Rückkehr desPapstes hatte das Theater seine Subventioneneingebüßt, die in ganz Europa herrschendeWirtschaftskrise hatte die Publikumszahlenschwinden lassen, und komische Oper warrelativ billig zu inszenieren. Dennoch mußteder Besitzer und Impresario verzweifelteAnstrengungen unternehmen, um eine Truppezusammenzustellen (“Es ist schlimm genug,um einen armen Teufel wie mich Blut spuckenzu lassen”, schrieb er), und die Saison fing mit

vierzehn Tagen Verspätung an. Rossini blieben,nachdem er den ersten Teil des Librettoserhalten hatte (25. Januar), nicht ganz vierWochen, bis er bei der Premiere (20. Februar)den Continuo-Part zu spielen hatte. Für einenKomponisten war das nichts Ungewöhnliches;aber das Ensemble war vermutlich erschöpftvon der Hast, die den Saisonstart (mitL’italiana in Algeri) begleitet hatte, undanschließend davon, den Barbiere einstudierenund proben zu müssen, während es pro Wochefünf Vorstellungen gab. Einer holprigenPremiere folgten gelungene spätereAufführungen, und von da an gab es für dieOper kein Halten mehr.

Nicht nur war sie unter den reinenkomischen Opern italienischer Tradition eineder besten, sondern auch fast die letzteüberhaupt. Rossinis Cenerentola, die imfolgenden Jahr herauskam, und diebekanntesten komischen Werke Donizettis(L’elisir d’amore und Don Pasquale) habensentimentale bzw. realistische Anklänge, dievon einer gemütlicheren Epoche künden.Außerdem kam die komische Oper allmählichaus der Mode: Sie paßte weder zu denängstlichen und verklemmten monarchischenRegimes, die nach dem Niedergang Napoleonswieder an die Macht kamen, noch zum


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das in einen lärmenden Ausbruch übergeht,und die elegante Klangkaskade der Koloratur.In seinen ernsten Opern kann beideswillkürlich eingesetzt erscheinen. Im Barbierepaßt sogar übertriebenes Crescendo bestens zudem, was gesungen wird – als dieVerleumdung in Basilios gefeierter Arie immerweiter um sich greift. Erfahrene Ohren – wiesie das ursprüngliche Publikum hatte – deutendas Crescendo mit seinen jähenModulationen, die im “Kanonenschuß”gipfeln, als Auftrumpfen: “Seht ihr? Ich kannmindestens so schön dramatisch sein wie dieanderen?” Auch das ist eine feinsinnigeVerulkung des Operngenres.

Auf Koloraturen greift Rossini in derAuftrittsarie des Tenors zurück, um Almavivaals temperamentvollen, anmutigen Liebhaberdarzustellen. (Die Oper endete ursprünglichkurz vor dem abschließenden Ensemble miteiner ausführlichen Glanznummer für García,doch das hielt zu sehr die Handlung auf; späterübertrug der Komponist sie der Titelheldin vonCenerentola, einem Mezzosopran, alsSchlußnummer.) An anderer Stelle dienenKoloraturen dazu, Rosinas Persönlichkeitscharfe Konturen zu geben. Ihre berühmte ersteArie verdeutlicht ihr Durchsetzungsvermögen,ihre Beherrschung der Situation und ihre

Fähigkeit, sich ironisch auszulassen. Dies istkeine unglücklich verliebte romantische Heldin:Glänzend und spöttisch humorvoll in ihremDuett mit Figaro, durch und durch reizend undamüsant im letzten Teil der Gesangsstunde(während Bartolo schläft) ist sie, wie wirheraushören können, ein von sich überzeugtesjunges Ding. (Im 19. Jahrhundert nahmen sichdie Soprane der Partie an und machten aus derGesangsstunde ein Konzert, das mit allemmöglichen gespickt war, vom Heimatlied bishin zu extravaganten Variationen. An sichgehört sie einem Mezzosopran wie Della Jones– in der laut Rossini natürlichen Stimmlage deritalienischen Frau. Dann wirkt dieGesangsstundenszene am besten so, wie siegeschrieben steht.)

Der Kern der Oper steckt in den zweivortrefflich gestalteten Ensemblenummern –dem langen Finale zum I. Akt und demQuintett, in dem die übrigen vierHauptfiguren dem verwirrten Don Basilio gutzureden, wieder ins Bett zu gehen. Bei beidenwerden die unterschiedlichen Abschnittedurch eine kecke, immer wiederkehrendePhrase und eine durchgehende, einprägsameBegleitung zusammengehalten. VonMenschen, die aussehen und sich anhören wieMaschinen, geht im Theater ein starker Anreiz

aus, zu lachen. Der überstürzte Schlußteil desFinales zum I. Akt sorgt für das, was seinerzeitder für Rossini typische “planmäßige undvollkommene Wahnsinn” genannt wurde. Beieiner ausschließlich italienischen Besetzung,die den Originaltext voll zur Geltung bringt(was bei Aufnahmen, die ein internationalesPublikum erreichen sollen, nicht oft zustandekommt), erlangt dies erhebliche Bedeutung.Das gleiche gilt in anderer Form, wenn wie beider vorliegenden Einspielung alle Sängerdieselbe Sprache sprechen – auch wenn es dieSprache eines Landes ist, dessenfrühmorgendliche Temperaturen kaum je zuSerenaden anregen.

© 1995 John RosselliÜbersetzung: Anne Steeb/Bernd Müller

InhaltsangabeGraf Almaviva, ein spanischer Edelmann, ist inRosina verliebt, das Mündel von DoktorBartolo, einem alten Arzt, der vorhat, sie selbstzu heiraten.

I. AktAuf der Straße vor Bartolos HausDer Graf bringt Rosina mit Hilfe einer Scharvon Musikern ein Ständchen. Um ihre

Bekanntschaft zu machen, versichert er sich derUnterstützung des Barbiers Figaro, der sich mitseiner Fähigkeit brüstet, in der ganzen Stadt fürOrdnung zu sorgen. Trotz der Wachsamkeitihres Vormunds gelingt es Rosina, einen Briefvom Balkon zu werfen, in dem sie Almavivanach seinem Namen fragt und seine Artigkeitenerwidert. Der Graf stellt sich Rosina als armerStudent mit Namen Lindoro vor. Figaro rätihm, er solle sich, um Einlaß ins Haus zuerlangen, als Soldat ausgeben, der bei DoktorBartolo einquartiert werden soll, und so tun, als sei er betrunken.

Im HausBartolo sind Gerüchte über AlmavivasInteresse an Rosina zu Ohren gekommen, under beschließt, sie unverzüglich zu heiraten.Rosinas Gesangslehrer, ein skrupelloserGeistlicher namens Don Basilio, ist BartolosVertrauter. Almaviva tritt als betrunkenerSoldat verkleidet auf, um beim DoktorQuartier zu beziehen. Rosina ist beglückt, alssie in ihm ihren Bewunderer erkennt. DerÄrger des Doktors über das Gebaren des“Soldaten” verursacht solchen Aufruhr, daß dieNachbarn die Wache rufen. Doch der Grafentzieht sich der Festnahme, worüber Bartolosehr wütend ist.


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II. AktIn Bartolos Haus, später am selben TagDer Graf legt eine neue Verkleidung an undbetritt das Haus als Don Alonso, einMusiklehrer. Er behauptet, er sei gekommen,um Rosina in Vertretung von Don Basilio, derplötzlich erkrankt sei, eine Gesangsstunde zugeben. Während des Unterrichts teilt der GrafRosina heimlich sein Vorhaben mit, sie umMitternacht zu entführen. Figaro, dererschienen ist, um Bartolo zu rasieren, schafftes, den Schlüssel zur Balkontür an sich zubringen. Da trifft zu ihrer Bestürzung Basilioein, wahrt jedoch, als ihm ein Beutel Geldzugesteckt wird, den Anschein, krank zu sein.Bartolo, der dennoch Verdacht geschöpft hat,ertappt die Liebenden bei einemkompromittierenden Gespräch.

Als der Graf und Figaro fort sind, hältBartolo Rosina den Brief vor, den sie anLindoro gerichtet hat, und überrumpelt sie mitder Behauptung, Lindoro sei ein AbgesandterAlmavivas, der sie nur ihres Geldes wegenheiraten wolle. Sie erklärt sich bereit, Bartolosofort zu ehelichen, und erzählt ihm von dergeplanten Entführung.

Figaro und der Graf kehren zur verabredetenZeit zurück und steigen durchs Fenster ein.Rosina weist “Lindoro” zurück, bis sie erfährt,

daß er selbst Almaviva ist. Sie sinkt in seineArme. Doch die Flucht ist ihnen verwehrt,denn Bartolo hat die Leiter vor dem Fensterentfernt. Basilio erscheint mit einem Notar, derRosina und ihren Vormund trauen soll, läßtsich aber ohne weiteres bestechen, statt dessenals Zeuge der Eheschließung Rosinas und desGrafen beizuwohnen. Bartolo kommt zu spätund muß einsehen, daß er sie verloren hat.

Im Lauf der vergangenen zehn Jahre hat sichBruce Ford als vielseitig einsetzbarer Belcanto-Tenor einen Namen gemacht und sich aufMozart- und Rossini-Partien spezialisiert.Nach seinem Debüt 1990 bei den Rossini-Festspielen in Pesaro, wo er mit weniger alszwei Wochen Vorlauf als Agorante in Ricciardoe Zoraide aufgetreten ist, hat er regelmäßig inPesaro gastiert (und Rossinis Otello, Il barbieredi Siviglia und Zelmira gesungen) und war anden meisten bedeutenden Opernhäusern undFestspielstätten Europas zu sehen. Am Teatroalla Scala in Mailand ist er unter anderem alsUberto (La donna del lago unter RiccardoMuti), Paolo Erisso (Maometto II) undBelmonte (Die Entführung aus dem Serailunter Wolfgang Sawallisch) aufgetreten. Mitder Royal Opera, Covent Garden hat er eineReihe von Erfolgen gefeiert, beispielsweise als

Almaviva, in der Titelrolle von MozartsMitridate, re di Ponto, als Ferrando in Così fantutte, Lindoro in L’italiana in Algeri undOsiride in Mosè in Egitto. Mit Beifall bedachtwurden seine Auftritte in San Francisco,Chicago, Los Angeles, Salzburg, Amsterdam,Zürich, Lausanne, Genf, Catania, Florenz,Neapel, Bologna, Lyon und Paris.

Bruce Ford hat für Opera Rara zahlreicheTonträger aufgenommen, darunter MeyerbeersIl crociato in Egitto, Mayrs Medea in Corinto,Donizettis Rosmonda d’Inghilterra, RossinisRicciardo e Zoraide, Pacinis Maria, reginad’Inghilterra, Donizettis Maria de Rudenz,Rossinis Otello und zwei Soloprogramme(Rossini – Three Tenors und Romantic Heroes).Für Chandos und die Peter MooresFoundation hat er ein Soloprogramm mitOpernarien aufgezeichnet.

Andrew Shore gilt als der herausragendeBuffo-Bariton Großbritanniens und ist einausgezeichneter Sänger und Schauspieler. Erhat für alle großen britischen Opernensemblesgearbeitet, so auch für die English NationalOpera, die Royal Opera, Covent Garden,Opera North, die Glyndebourne FestivalOpera, Scottish Opera und Welsh NationalOpera, und ist im Ausland an der San Diego

Opera, der New Israeli Opera, der Opéranational de Paris-Bastille, der Opéra-Comique,dem Gran teatro del Liceu in Barcelona, inLyon, Nantes, Montpellier, Kopenhagen,Amsterdam, Vancouver und Ottawaaufgetreten. Seine zahlreichen Verpflichtungenhaben die Titelrollen von Wozzeck, Falstaff,King Priam, Gianni Schicchi und Don Pasqualeeingeschlossen. Darüber hinaus hat erDulcamara (L’elisir d’amore) gesungen, DonAlfonso (Così fan tutte), Figaro (Le nozze diFigaro), Papageno, den Zaren Dodon (Le Coqd’or), Leandro (Die Liebe zu den drei Orangen),Dikoj (Katja Kabanowa), Dr. Kolenaty (DieSache Makropulos), Siskov (Aus einemTotenhaus), Frank (Die Fledermaus), den Baron(La Vie parisienne), Baron Trombonok (Ilviaggio a Reims), Warlaam (Boris Godunow)und Faninal (Der Rosenkavalier). Für Chandosund die Peter Moores Foundation hat er anfolgenden Aufnahmen mitgewirkt: L’elisird’amore, Don Pasquale, La bohème undHighlights aus dem Rosenkavalier sowie dervorliegende Barbiere di Siviglia und diepreisgekrönte Tosca.

Della Jones wurde in Neath geboren und amRoyal College of Music ausgebildet, wo siezahlreiche Preise gewonnen hat, darunter das


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Stipendium Kathleen Ferrier MemorialScholarship. Sie ist zusammen mit allenbedeutenden britischen Operntruppen, invielen Teilen Europas, in den USA, in Kanada,Rußland und Japan aufgetreten. Ihr Repertoireumfaßt die Titelrollen von Ariodante, LaCenerentola und Carmen, Rosina, Herodias(Salome), Baba the Turk (The Rake’s Progress),Marcellina, Adalgisa, Dido (Les Troyens undDido and Aeneas), Donna Elvira, Brangäne,Hermia (A Midsummer Night’s Dream), Juno(Semele) und die Schenkwirtin (BorisGodunow). Della Jones tritt regelmäßig inRundfunk und Fernsehen auf, und zu ihrenvielen Aufnahmen gehören Alcina,L’incoronazione di Poppea, La clemenza di Titound Korngolds Die Kathrin. Außerdem hat siefür Opera Rara Gabriella di Vergy (Donizetti)aufgezeichnet, Maria Padilla (Donizetti), Ilcrociato in Egitto (Meyerbeer), Ricciardo eZoraide (Rossini) und Dinorah (Meyerbeer).Für Chandos hat sie unter anderem SanctaSusanna (Hindemith) und The Bear (Walton)aufgenommen, für Chandos und die PeterMoores Foundation La traviata und GiulioCesare.

Alan Opie, der aus Cornwall stammt, hat ander Guildhall School of Music und am

London Opera Centre studiert. Er war vieleSpielzeiten lang Baritonsolist an der EnglishNational Opera und hat zusammen mit allenbedeutenden britischen Opernensemblesgesungen. Außerhalb Großbritanniens ist er anden Opernhäusern von Bayreuth, Paris (Opéranational de Paris-Bastille), Amsterdam,Chicago, Mailand (Teatro alla Scala),München (Bayerische Staatsoper), Berlin,Wien, Brüssel und New York (TheMetropolitan Opera) aufgetreten. In jüngsterZeit war er als Beckmesser (Die Meistersingervon Nürnberg) an der Wiener Staatsoper zusehen und wurde erneut dorthin eingeladen,um als Balstrode in Peter Grimes aufzutreten,eine Rolle, die er auch für die mit demGrammy ausgezeichnete Chandos-Aufzeichnung der Oper gesungen hat. Er ist inLuciano Berios Outis an der Mailänder Scalaund am Châtelet théâtre musical in Parisaufgetreten, und als Mr. Redburn in einer teilsszenischen Aufführung der zweiaktigenFassung von Brittens Billy Budd am LondonerBarbican Centre, die danach zur Herausgabeim Frühjahr 2000 von Chandos aufgezeichnetwurde. Außerdem war er an folgendenChandos-Aufnahmen beteiligt: The Rape ofLucretia (Britten), Martin’s Lie (Menotti),Troilus and Cressida (Walton) sowie Maria

Stuarda, Pagliacci und La bohème (jeweils inZusammenarbeit mit der Peter MooresFoundation).

Peter Rose wurde in Canterbury geboren, hatan der University of East Anglia Musik studiertund wurde von Ellis Keeler an der GuildhallSchool of Music and Drama ausgebildet. SeinOperndebüt gab er als Komtur beim Gastspielder Glyndebourne Festival Opera 1986 inHongkong und war dann bis 1989 Baßsolistan der Welsh National Opera. Er ist unter derLeitung der führenden Dirigenten der Weltund mit allen bedeutenden britischenOperntruppen aufgetreten, darunter die RoyalOpera, Covent Garden, die English NationalOpera und Scottish Opera. AußerhalbGroßbritanniens hat er an der MetropolitanOpera in New York gesungen, an der Opéra-Comique in Paris, der Deutschen StaatsoperBerlin, der Hamburgischen Staatsoper, derWiener Staatsoper, der Lyric Opera of Chicagound der New Israeli Opera in Tel Aviv, in SanFrancisco, Amsterdam, Köln, Rom und Seattle.Er war bei bedeutenden Festspielen auf derganzen Welt wie jenen in Orange, Aix-en-Provence, Istanbul und Bregenz zu Gast, sowiebeim Maggio musicale in Florenz. Zu seinenzahlreichen Partien gehören Ramfis, Fasolt,

Hunding, Pimen, Osmin, König Marke, BaronOchs, Rocco, Bottom (A Midsummer Night’sDream), Banquo (Macbeth), Cadmus/Somnus(Semele), Geßler (Guillaume Tell), Mustafa(L’italiana in Algeri) und Walter (LuisaMiller). Auf Tonträger hat er unter anderemfür Chandos und die Peter MooresFoundation die preisgekrönte Tosca undden vorliegenden Barbiere di Sivigliaaufgenommen.

Jennifer Rhys-Davies, die am Trinity Collegeof Music ausgebildet wurde, hat inbedeutenden Rollen wie Donna Anna, DonnaElvira, Konstanze, die Königin der Nacht,Pamina, Miss Jessel (The Turn of the Screw),Lucia, Semiramide und Lady Macbeth großeErfolge erzielt. An der Royal Opera, CoventGarden ist sie als Berta (Il barbiere di Siviglia),Amaltea (Mosè in Egitto), Clorinda (LaCenerentola), Marianne (Der Rosenkavalier),Anna (Nabucco) und Sieglinde aufgetreten.Außerdem hat sie beim Glyndebourne Festivaldie italienische Sängerin (Capriccio) gegeben,Olympia, Antonia und Giulietta (Les Contesd’Hoffmann) am Grand théâtre de Limogesund Elisabetta (Maria Stuarda) amStadttheater Basel. Sie hat unter anderem fürOpera Rara Mercadantes Orazi e Curiazi und


Foundation, die sich auch auf seineEinspielung des Werther mit Dame Janet Bakerunter Sir Charles Mackerras und von VerdisOtello unter Mark Elder erstreckt. AndereAufnahmen des Orchesters für Chandos unddie Peter Moores Foundation sind MariaStuarda, Giulio Cesare, Rigoletto (in derInszenierung von Jonathan Miller) und Latraviata.

Gabriele Bellini, in Legnago bei Veronageboren, wurde am Conservatorio BenedettoMarcello in Venedig und am ConservatorioGiuseppe Verdi in Mailand ausgebildet, wo ersein Studium in den Fächern Horn,Komposition und Dirigieren abschloß.Anschließend nahm er weiterDirigierunterricht bei Franco Ferrara,Hermann Scherchen, Sergiu Celibidache undHans Swarowsky. Seine Verpflichtungen habenihn nach ganz Europa und die USA geführt,beispielsweise zur jahrelangenZusammenarbeit mit Claudio Abbado amTeatro alla Scala in Mailand. Er hat als

Künstlerischer Leiter und Musikdirektor derConnecticut Grand Opera amtiert, alsGastdirigent des American SymphonyOrchester und des Cincinnati Opera House.Die Verbindung, die er 1988 mit dem Orkestvan Hetoosten am Opernforum imniederländischen Enschede angeknüpft hatte,gipfelte in seiner Ernennung zumChefdirigenten des Orchesters. Von 1992 bis1997 dirigierte er dort unter anderemAufführungen von Macbeth, Stiffelio, Rigoletto,Il trovatore, Falstaff, Madama Butterfly, Toscaund Wozzeck. 1998 eröffnete er die Donizetti-Festspiele in Bergamo mit L’elisir d’amore undist seither zurückgekehrt, um La bohème zudirigieren. In letzter Zeit hat Gabriele Belliniaußerdem Norma in Gröningen dirigiert, Larondine am Teatro del Giglio in Lucca, Lindadi Chamounix in Bologna und I puritani inSpanien. Darüber hinaus hat er an derKomischen Oper Berlin Eine Nacht in Venediggeleitet und hat an der Norwegischen Oper inOslo, der Royal Opera, Covent Garden, inGöteborg und Leipzig gastiert.

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für Chandos und die Peter MooresFoundation Highlights aus dem Rosenkavalierauf Tonträger aufgenommen.

Der Chor der English National Opera ist eineStütze der gesamten Truppe. In zahllosenProduktionen der English National Opera hater das Publikum mit der Kraft seines Gesangsund der Intensität seiner Darstellung entzückt.Der Chor besteht aus achtundsechzig Sängern,und die weit gefächerten Talente undErfahrungen, die sie in ihre Darbietungeneinbringen, kennzeichnen jede Inszenierung,an der sie mitwirken. Besondere Triumphe fürden Chor waren Prokofjews Krieg und Frieden,Schostakowitschs Lady Macbeth von Mzensk,Brittens Billy Budd und Peter Grimes,Mussorgskis Boris Godunow, Bizets Carmenund Verdis Otello. Seine Aufnahme derletztgenannten Oper in der von Mark Eldergeleiteten Inszenierung von Jonathan Millerwird unter der Schirmherrschaft der PeterMoores Foundation demnächst bei Chandoserscheinen, ebenso seine Aufzeichnung desWerther mit Dame Janet Baker unter SirCharles Mackerras und des gefeierten Ring-Zyklus unter der Leitung von Sir ReginaldGoodall. Andere Aufnahmen des Chors fürChandos und die Peter Moores Foundation

sind Maria Stuarda, Giulio Cesare, Rigoletto(Regie: Jonathan Miller) und La traviata.

Das von der Kritik ebenso wie vom Publikumgefeierte Orchester der English NationalOpera unter Konzertmeister Barry Griffithshat in den letzten Jahren mehrere angesehenePreise gewonnen, beispielsweise denMusikpreis der Royal Philharmonic Society undeinen Olivier Award für herausragendeLeistungen im Bereich der Oper. DasOrchester ist von zentraler Bedeutung für daskünstlerische Leben der Truppe und war nichtnur bei Opernvorstellungen im LondonerColiseum, sondern auch auf demKonzertpodium zu sehen. Zusätzlich sind vieleder Musiker am Baylis-Programm der fürSchul- und Gemeindearbeit zuständigenAbteilung des Orchesters beteiligt undarbeiten mit dem English National OperaStudio an der Entwicklung neuer Opern,speziell an Mark Anthony Turnages The SilverTassie, das im Februar 2000 uraufgeführt wird.Das Orchester hat an vielen Einspielungenmitgewirkt, zum Beispiel am gefeierten Ring-Zyklus unter der Leitung von Sir ReginaldGoodall, der demnächst bei Chandosherauskommen wird. Dies geschieht unter derSchirmherrschaft der Peter Moores


Gioachino Rossini: Le Barbier de Séville

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Rossini écrivit 40 opéras, tous avant son 38èmeanniversaire, c’est-à-dire pendant la premièremoitié de son existence, puisqu’il lui restaitencore 38 ans à vivre. Pourtant, à un certainmoment, il ne fut plus connu que pour avoircomposé la musique du Barbiere di Siviglia.

C’est au moment où régnait la musique deWagner, entre 1880 et 1920, que l’oubli sévitparticulièrement. Les opéras sérieuxdisparurent de la scène, à part Guillaume Tellet Mosè in Egitto auxquels furent accordéesquelques représentations occasionnelles enraison de leur statut de chefs-d’œuvre anciens.Les opéras comiques, et même L’italiana inAlgeri et La Cenerentola qui avaient connu enleur temps (et connaissent aujourd’hui) unénorme succès ne furent plus qu’un souvenir.Mais Il barbiere di Siviglia poursuivit sacarrière, bon an mal an. Parfois ce fureut lesmeilleurs chanteurs du moment qui tirrent lesrôles, parfois ce furent les pires. Dans lesannées 40, à New York/Broadway, le Barbierefut transformé en comédie musicale, sous letitre: Once Over Lightly (Une fois de plus,légèrement) avec un Figaro russe, mais cette“fois de plus” s’avéra une fois de trop!

Qu’y-a-t-il donc dans cette œuvre qui lamaintienne toujours aussi fraîche? Le succès,autrefois et aujourd’hui, se répète de lui-même.Les deux œuvres, opéra et comédie devenueclassique, sont aussi attirantes sur une scènelyrique que sur une scène de théâtre, l’uneétant plus souvent représentée que l’autre parcequ’elle est mieux connue. La comédie était déjàcélèbre quand Rossini, à court de temps, et sonlibrettiste, Cesare Sterbini, décidèrent de s’enservir pendant le dur hiver romain de 1816. Lechef-d’œuvre de Beaumarchais (1775) se jouaittoujours avec autant de succès, aidé par letriomphe de la suite de l’histoire, Le Mariage deFigaro (La troisième pièce de la trilogie, LaMère coupable (1792), est une comédielarmoyante et sentencieuse; Beaumarchaisayant été dépassé dans sa ferveur frondeuse parla révolution de 1789). Le Barbiere d’origine,comédie étincelante, dans laquelle brille legénie de l’intrigue, reposait en fait sur lesmêmes fondations que l’opéra comique – cellesde la vieille comédie de masques italienne, avecses machinations centenaires: le vieux tuteurqui se propose d’épouser sa jolie pupille voitl’amour déjouer ses plans, assisté en cela par

des serviteurs intelligents et madrés. Mieuxencore, pour faciliter la mise en musique,Beaumarchais avait écrit sa pièce avec desnuméros.

Mais ce qui donne au Barbiere son caractèrespécial, c’est le personnage de Figaro, hommehors du commun, du genre de ceux quiallaient jouer un rôle important dans larévolution. Maître Jacques à trente-six métiers,il vit d’inventions; irrévérencieux envers sessupérieurs (mais seulement jusqu’au point oùleur supériorité le permet), il est toujours prêtà les rouler ou à les exploiter. Dans l’opéra, lesmots étant, par nécessité, beaucoup moinsnombreux que dans la pièce, le personnage estdessiné avec moins de subtilité; dès son aird’entrée au premier acte, il fait étalage d’undynamisme plébéien et d’un penchant pour lespièces d’or.

La comédie de Beaumarchais devenuefameuse, Giovanni Paisiello, compositeuritalien très en vogue à la fin du 18ème siècle,se chargea d’en faire un opéra comique. Créé àSaint-Pétersbourg en 1782, son Barbierevoyagea avec grand succès à travers l’Europe.Aujourd’hui, quelques rares représentations defestivals, révèlent une œuvre charmante etmélodieuse, avec une scène assez drôle aucours de laquelle les serviteurs de Bartolo

éternuent et bâillent; mais dans l’ensemble uneœuvre un peu trop fade et traînante pour lesgoûts modernes. Lorsque Rossini se mit àl’ouvrage en 1816, Paisiello n’était plus envogue. Sa musique avait passé de mode entrente ans (un répertoire d’œuvres qui serejouaient constamment commençait à seformer), et surtout la révolution et la périodenapoléonienne avaient ouvert accès à unpublic nouveau, plus bourgeois, plusimpatient, plus réceptif aux sensations fortes, àla musique militaire notamment, et Rossini luioffrait ce qui lui plaisait alors: pétulance,exaltation, entrain.

L’histoire de la première représentation duBarbiere de Rossini, victime d’une cabalemontée par les défenseurs de Paisiello, est sansdoute une invention. A cette époque, l’usagepermettait à plusieurs compositeurs d’écriredes opéras sur le même sujet, et parfois sur lemême livret. De plus Rossini et Sterbiniavaient pris deux sages précautions; ils avaientmodifié le titre (le titre d’origine: Almaviva,convenait parfaitement au tenant du rôle-titre,le ténor-vedette Manuel García) et ils avaientconsidérablement abrégé la scène deséternuements et bâillements. Plus encore, ilsavaient fait publier une note déclarant qu’ilsn’avaient nullement l’intention de froisser le


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vieux compositeur (qui mourut trois mois plustard). Ce qui se produisit ressemblerait plutôtà une démonstration de jalousie; de jeunescompositeurs rivaux et quelques abonnés d’unthéâtre concurrent protestèrent parce que,selon eux, le Teatro Argentina auraitoutrepassé ses droits en montant un opéracomique. Cependant, au fond, les vraisproblèmes de la première soirée étaient toutsimplement le résultat d’une course frénétiquecontre la montre, pour ouvrir à temps la saisond’opéra; la course, bien qu’habituelle, avait été,cette fois-là, un peu trop frénétique.

L’Argentina, principal théâtre de Rome,aurait dû normalement présenter un grandopéra. Mais, pour économiser de l’argent, ladirection demanda à Rossini d’écrire un opéracomique au lieu d’un drame lyrique classique.Après la chute de Napoléon et le retour dupape, le théâtre avait perdu ses subsides; et lacrise économique, étendue à toute l’Europe, semanifestait, dans la salle, par des spectateursmoins nombreux. Un opéra comique revenaitmoins cher à monter qu’un grand opéra (cedernier exigeait un nombre d’artistesimpressionnant que le propriétaire-impresarione pouvait engager, il écrivait: “un pauvrehomme comme moi en arrive à pleurer deslarmes de sang”). Finalement, la saison s’ouvrit

survécut en conservant son caractère de vieilopéra comique, à la fois absurde etimpitoyable.

“Il joue de tout: humeur, philosophie,drame, et avec tous: acteurs, public et lethéâtre entier” écrivait Bernard Shaw au sujetd’Oscar Wilde. On pourrait en dire autant deRossini (la philosophie semblerait peut-êtrehors de son domaine, mais il ne faut pasoublier que Hegel et Schopenhauer, deuxgrands et graves philosophes, admiraientbeaucoup ses œuvres). Du début à la fin duBarbiere, Rossini se joue des conventions del’opéra (il l’avait déjà fait; dans Il turco inItalia, un des personnages écrit le scénario aufur et à mesure que l’action se déroule). Dès lapremière scène, les musiciens, ayant donné lasérénade, remercient à tue-tête et ridiculisentainsi les chœurs d’opéra chantant à pleine voixla même phrase, plusieurs fois, alors qu’il seraittemps de partir sans se faire remarquer. A lafin de l’opéra, Figaro et le couple des amantsrépètent qu’il leur faut déguerpir ... si souventque l’échelle de la fuite leur échappe. (Ils sontles précurseurs des policiers de l’opérette ThePirates of Penzance, qui, en chœur, chantentlonguement “En Catimini”.) Ces personnagesse servent du théâtre pour railler leurs proprespersonnalités théâtrales.

Au début de ce même trio, Figaro imiteavec irone Almaviva et ses mélismes [groupesde notes chantées sur une seule syllabe] auclair de lune, pour réaffirmer son amourenvers Rosine au lieu de s’enfuir avec elle.Mais ce n’est là que la dernière d’une série deparodies musicales. Dans la scène de la leçon,la petite chanson de Bartolo contrefait lamusique qu’il aurait entendue dans sa jeunesse(antérieure à Paisiello), et son grand air auxrépétitions poussées, musicalement pédant, segausse indirectement du vieux notairedesséché. Le début de la même scène, avecl’abbé qui semble prêcher sans fin la “bonnenouvelle”, paix et béatitude, est une petitemoquerie des airs de cantiques sur lesquels sechantent ces paroles. L’éloge de l’or, queprononce Figaro au premier acte dans son duoavec Almaviva, se fait l’écho des lignesprophétiques du grand opéra.

La parodie va même plus loin lorsque Rossinisatirise ses propres inventions – le crescendo quiva jusqu’au déchaînement et la cascade élégantede notes coloratura. Dans ses opéras sérieux, lesdeux peuvent être arbitraires. Dans Il barbiere,le crescendo le plus frappant est, pour une fois,parfaitement adapté à ce qui se chante – lacalomnie se répand graduellement, enfle etmenace (le fameux grand air de Basilio). Pour

avec deux semaines de retard. Quatre semainess’étaient à peine écoulées entre la rédaction dela première partie du livret (25 janvier) et lacréation du Barbier (20 février) avec Rossiniau continuo, selon la coutume. Pour uncompositeur, ce régime accéléré n’était peut-être pas très éloigné de l’ordinaire, mais pourles chanteurs, il frisait l’intolérable; ils étaientexténués. Pendant la bousculade despréparatifs de la saison (qui avait commencépar l’Italiana in Algeri), ils avaient dûapprendre les rôles du Barbiere, ensuite, alorsqu’ils interprétaient l’Italiana sur scène cinqsoirs par semaine. ils répétaient Il barbiere dansla journée. En fin de compte, la première et sescommotions furent vite oubliées grâce ausuccès de l’opéra, qui n’a jamais failli depuis.

Opéra comique de pure tradition italienne,le Barbiere est aussi le dernier du genre. LaCenerentola de Rossini, qui suivit un an après,et par la suite les deux grands succès comiquesde Donizetti, L’elisir d’amore et Don Pasqualeexpriment des sentiments, un certain réalismequi annoncent une autre époque et un styleplus direct. Le genre lui-même commença àpasser de mode; après la chute de Napoléon,les régimes royalistes timorés au pouvoir, et lesnouvelles classes moyennes, très respectables,ne pouvaient guère l’apprécier. Seul le Barbiere


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les oreilles éduquées, comme celles du public dela création, le crescendo – avec ses modulationssoudaines et son apogée en coup de canon –semble dire: “Vous voyez? Après tout je peuxtrès bien me faire “dramatique” avec ce que j’aide meilleur!”, autre moyen subtil de narguerl’opéra.

Quant au coloratura, Rossini s’en sert dansle premier air du ténor pour présenterAlmaviva sous la forme d’un amant, pressantet élégant (l’opéra d’origine, juste avant legrand final tous personnages en scène, offraitun passage complexe au ténor, pour queGarcía puisse faire étalage de sa virtuositévocale. Mais il paralysait l’action. Aussi lecompositeur l’utilisa-t-il dans un autre opéra,La Cenerentola, en le confiant à la mezzo; lerideau tombe juste après son coup d’éclat).Ailleurs, le coloratura sert à dessiner finementle portrait de Rosine. Son (premier) fameuxgrand air témoigne de son assurance, de samaîtrise de la situation, de son talent pourl’ironie. Ce n’est pas une héroïne romantiquequi se meurt d’amour. Eclatante et sardoniquedans son duo avec Figaro; charmante etjoyeuse vers la fin de la scène de la leçon(quand Bartolo s’est endormi), c’est une jeunefemme qui a bien la tête sur les épaules. (Au19ème siècle les sopranos s’approprièrent le

rôle et transformèrent la leçon en un récitaltruffé d’airs incroyables, y comprisd’extravagantes variations sur de vieux airspopulaires. Le rôle de Rosine fut conçu pourune mezzo, comme Della Jones, “à la voixitalienne naturelle” précisait Rossini - et lascène de la leçon est beaucoup mieux, telle quele compositeur l’a écrite.)

Les parties optimales de l’opéra sont deuxmorceaux pour ensemble, superbementouvragés: le long Finale de l’acte I et lequintette dans lequel quatre des personnagesprincipaux veulent convaincre Don Basilio,interloqué, qu’il doit retourner au lit. A traversles sections changeantes, toutes les partiesrestent liées entre elles par une petite phrasemusicale guillerette qui revient quand il lefaut, et par un accompagnement impétueux etferme. La vue et le son d’êtres humains qui secomportent comme des machines a toujoursprovoqué le rire au théâtre. La sectionfougueuse qui met fin à l’acte I, a tout l’air,selon une expression du temps de Rossini,“d’une folie organisée et totale”. A cet endroit,(quelques fois aussi ailleurs), Rossini laisse lamusique prendre le dessus sur les mots.Pourtant les mots disent quelque chose; parexemple “jaune”, quand tout le monde répèteà Basilio qu’il a le teint “jaune”. Et une fois

que Rosine a longuement chanté sa docilité,elle détruit l’impression d’humilité qu’elle acréée par un seul petit “mais” bien servi.Certes, avec une distribution entièrementitalienne (que l’on n’entend pas souvent surdes disques destinés à une clientèleinternationale), qui fait ressortir de son mieuxles paroles originales, les mots-clé ne passentpas inaperçus. Mais ils se remarquent aussi,évidement d’une façon différente, quand,comme c’est le cas ici, tous les chanteursparlent la même langue, même si cette langueest celle d’un pays dont la températurematinale, juste avant le lever du jour,encourage rarement les sérénades.

© 1995 John RosselliTraduction: Paulette Hutchinson

Le Barbier de SévilleLe Comte Almaviva, un homme issu de lanoblesse espagnole, est amoureux de Rosine, lapupille du Dr Bartolo, un vieux médecin qui alui-même l’intention d’épouser Rosine.

Acte IDans la rue, devant la maison du Dr BartoloLe Comte, aidé par une troupe de musiciens,chante la sérénade sous les fenêtres de Rosine.

Afin de lui être présenté, il réussit à gagnerl’aide de Figaro, le barbier, qui se fait gloire degérer les intrigues amoureuses de la ville. Endépit de l’attention de son tuteur, Rosinetrouve le moyen de faire tomber une lettre deson balcon dans laquelle elle lui demande sonnom et lui déclare la réciprocitée de sessentiments. Le Comte se présente alors àRosine sous les traits d’un pauvre étudiantrépondant au nom de Lindoro. Afin d’êtreadmis en la demeure, Figaro suggère auComte de se faire passer pour un soldat,ivre, demandant à être logé chez leDr Bartolo.

A l’intérieur de la demeureDr Bartolo a eu vent de rumeurs au sujet del’intérêt d’Almaviva pour Rosine et décide del’épouser sur le champ. Le maître de chant deRosine, un prêtre sans scruples du nom deBasilio, est le confident de Bartolo. Almaviva,déguisé en soldat ivre, arrive chez le docteurafin d’y prendre ses quartiers. Rosine est ravielorsqu’elle reconnaît son admirateur. Ledésagrément qu’éprouve le docteur devant lecomportement du “soldat” déclenche une tellequerelle que les voisins décident de faire appelà la milice. Le Comte échappe à l’arrestation,au grand courroux de Bartolo.


Acte IIDans la demeure de Bartolo, plus tard même jourLe Comte s’affuble d’un nouveau déguisementet pénètre dans la demeure sous les traits deDon Alonso, un professeur de musique. Ildéclare qu’il vient donner à Rosine une leçonde chant à la place de Don Basilio qui estsoudain tombé malade. Sous couvert dedonner la leçon à Rosine, le Comte annonce àRosine qu’il l’enlèvera de la maison paternelle àminuit. Figaro, qui vient d’arriver pour raserBartolo, réussit à se faire donner les clefs dubalcon. A la consternation de tous, Basilioapparaît mais on lui presse alors une boursebien pleine dans la main afin qu’il continue àprétendre qu’il est malade. Bartolo, dont lessoupçons se sont évéillés, surprend lesamoureux au cours d’une conversationcompromettante.

Lorsque le Comte et Figaro s’en sont allés,Bartolo confronte Rosine avec la lettre qu’elle aadressée à Lindoro, et il la prend au dépourvulorsqu’il lui déclare que Lindoro n’est autre quel’agent d’Almaviva qui ne veut l’épouser quepour son argent. Elle accepte tout de suited’être mariée à Bartolo et lui dévoile les plansd’enlèvement.

Figaro et le Comte arrivent au rendez-vous àl’heure convenue, et pénètrent dans la maison

par la fenêtre. Rosine repousse “Lindoro”jusqu’au moment où elle apprend qu’il est leComte Almaviva lui-même. Elle tombe dansses bras. Cependant, ils ne peuvent pluss’échapper, car Bartolo a retiré l’échelle dedessours la fenêtre. Basilio, arrive avec unnotaire censé marier Rosine à son tuteur, maison parvient facilement à le corrompre et àassister au mariage de Rosine avec le Comte.Bartolo arrive trop tard et il est obligé dereconaître l’évidence: il a perdu Rosine.

Durant ces dix dernières années, Bruce Fords’est forgé une excellente réputation de ténor belcanto très complet, spécialiste des rôles deMozart et Rossini. Depuis ses débuts au FestivalRossini de Pesaro en 1990, lorsqu’il acceptamoins de deux semaines avant la représentationde jouer le rôle d’Agorante dans Ricciardo eZoraide, il se produit régulièrement à Pesaro(chantant dans Otello, Il barbiere di Siviglia etZelmira de Rossini) ainsi que sur les plusgrandes scènes lyriques et dans les plus grandsfestivals en Europe. Au Teatro alla Scala àMilan, il a été entre autres Uberto (La donna dellago sous la direction de Riccardo Muti), PaoloErisso (Maometto II) et Belmonte (DieEntführung aus dem Serail sous la direction deWolfgang Sawallisch). Il a connu une kyrielle de

succès avec le Royal Opera à Covent Garden,chantant entre autres Almaviva, le rôle-titre deMitridate, re di Ponto de Mozart, Ferrando dansCosì fan tutte, Lindoro dans L’italiana in Algeriet Osiride dans Mosè in Egitto. Il a égalementtriomphé à San Francisco, Chicago, LosAngeles, Salzbourg, Amsterdam, Zurich,Lausanne, Genève, Catania, Florence, Naples,Bologne, Lyon et Paris.

Bruce Ford a fait de nombreux disques pourOpera Rara, comme Il crociato in Egitto deMeyerbeer, Medea in Corinto de Mayr,Rosmonda d’Inghilterra de Donizetti, Ricciardoe Zoraide de Rossini, Maria, reginad’Inghilterra de Pacini, Maria de Rudenz deDonizetti, Otello de Rossini et deux disques derécitals (Rossini – Three Tenors et RomanticHeroes). Pour Chandos, en collaboration avecla Peter Moores Foundation, il a enregistré ensoliste un récital d’airs d’opéra.

Andrew Shore est considéré comme leprincipal baryton bouffe en Grande-Bretagneaujourd’hui, remarquable pour ses talents dechanteur et d’acteur. Il a travaillé avec laplupart des grandes compagnies britanniques,comme l’English National Opera, le RoyalOpera à Covent Garden, Opera North, leGlyndebourne Festival Opera, Scottish Opera

et le Welsh National Opera, se produisant surde nombreuses scènes lyriques internationales,comme l’Opéra de San Diego, le New IsraeliOpera, l’Opéra national de Paris-Bastille,l’Opéra-Comique, le Gran teatre del Liceu àBarcelone ainsi qu’à Lyon, Nantes, Montpellier,Copenhague, Amsterdam, Vancouver etOttawa. Il a tenu entre autres les rôles-titres deWozzeck, Falstaff, King Priam, Gianni Schicchiet Don Pasquale, chantant aussi Dulcamara(L’elisir d’amore), Don Alfonso (Così fan tutte),Figaro (Le nozze di Figaro), Papageno, le roiDodon (Le Coq d’or), Leandro (L’Amour destrois oranges), Dikoj (Katia Kabanova), DrKolenaty (L’Affaire Makropoulos), Chichkov(Souvenirs de la maison des morts), Frank (DieFledermaus), le baron (La Vie parisienne), lebaron Trombonok (Il viaggio a Reims), Varlaam(Boris Godounov) et Faninal (DerRosenkavalier). Pour Chandos en collaborationavec la Peter Moores Foundation, il a enregistréL’elisir d’amore, Don Pasquale, La bohème et desextraits de Der Rosenkavalier, de même quecette version du Barbiere di Siviglia et uneversion primée de Tosca.

Née à Neath, Della Jones fit ses études auRoyal College of Music à Londres, remportantde nombreux prix dont la Kathleen Ferrier

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Memorial Scholarship. Elle s’est produite avecles plus grandes troupes lyriques de Grande-Bretagne, dans l’Europe entière ainsi qu’auxEtats-Unis, au Canada, en Russie et au Japon.A son répertoire figurent les rôles-titresd’Ariodante, La Cenerentola et Carmen, ainsique les rôles de Rosina, Herodias (Salome),Baba le Turc (The Rake’s Progress), Marcellina,Adalgisa, Didon (Les Troyens et Dido andAeneas), Donna Elvira, Brangäne, Hermia (AMidsummer Night’s Dream), Junon (Semele) etde l’hôtesse (Boris Godounov). Della Jonestravaille régulièrement pour la radio et latélévision; son abondante discographiecomprend entre autres Alcina, L’incoronazionedi Poppea, La clemenza di Tito et Die Kathrinde Korngold. Elle a enregistré Gabriella diVergy (Donizetti), Maria Padilla (Donizetti), Ilcrociato in Egitto (Meyerbeer), Ricciardo eZoraide (Rossini) ainsi que Dinorah(Meyerbeer) pour Opera Rara et parmi sesnombreux enregistrements pour Chandosnotons Sancta Susanna (Hindemith), The Bear(Walton) et, pour Chandos en collaborationavec la Peter Moores Foundation, La traviataet Giulio Cesare de Haendel.

Né en Cornouailles, Alan Opie fit ses études àla Guildhall School of Music de Londres et au

London Opera Centre. Premier baryton del’English National Opera durant plusieurssaisons, il a chanté avec les plus grandestroupes lyriques de Grande-Bretagne. Sacarrière internationale l’a conduit à Bayreuth,Paris (Opéra national de Paris-Bastille),Amsterdam, Chicago, Milan (Teatro allaScala), Munich (Opéra d’état de Bavière),Berlin, Vienne, Bruxelles et New York (TheMetropolitan Opera). Il a récemment tenu lerôle de Beckmesser (Die Meistersinger vonNürnberg) à l’Opéra d’état de Vienne qui l’ainvité à monter à nouveau sur sa scène, cettefois-ci sous les traits de Balstrode dans PeterGrimes, un rôle qu’il tient aussi dansl’enregistrement de l’opéra par Chandos qui aremporté un Grammy Award. Il a chanté dansOutis de Luciano Berio à La Scala de Milan etau Châtelet théâtre musical à Paris, tenant lerôle de Mr. Redburn dans une mise en scènepartielle de la version en deux actes de BillyBudd de Britten au Barbican Centre àLondres, une version que Chandos a par lasuite enregistrée et qui sortira au printemps2000. Pour Chandos, Alan Opie a chanté dansThe Rape of Lucretia (Britten), Martin’s Lie(Menotti), Troilus and Cressida (Walton) ainsique dans Maria Stuarda, Pagliacci et Labohème (trois enregistrements produits en

collaboration avec la Peter MooresFoundation).

Né à Canterbury, Peter Rose étudia lamusique à l’Université d’East Anglia puis futl’élève d’Ellis Keeler à la Guildhall School ofMusic and Drama à Londres. Il fit ses débutssur la scène lyrique dans le rôle duCommandeur avec le Glyndebourne FestivalOpera à Hong Kong en 1986 et fut premièrebasse du Welsh National Opera jusqu’en 1989.Il a chanté avec les principaux chefsd’orchestre dans le monde et les plus grandestroupes lyriques britanniques comme TheRoyal Opera à Covent Garden, l’EnglishNational Opera et Scottish Opera. Sa carrièreinternationale l’a conduit au MetropolitanOpera à New York, à l’Opéra-Comique àParis, à l’Opéra d’état allemand à Berlin, àl’Opéra d’état de Hambourg, à l’Opéra d’étatde Vienne, au Lyric Opera de Chicago et auNew Israeli Opera à Tel Aviv de même qu’àSan Francisco, Amsterdam, Cologne, Rome etSeattle. Il a aussi participé aux plus grandsfestivals dans le monde entier, à Orange, Aix-en-Provence, Istanbul, Bregenz et à Florence(Maggio musicale). Il a été entre autresRamfis, Fasolt, Hunding, Pimène, Osmin, leroi Marke, le baron Ochs, Rocco, Bottom (A

Midsummer Night’s Dream), Banquo(Macbeth), Cadmus/Somnus (Semele), Gessler(Guillaume Tell), Mustafa (L’italiana in Algeri)et Walter (Luisa Miller). Parmi ses nombreuxenregistrements, notons pour Chandos, encollaboration avec la Peter MooresFoundation, la version primée de Tosca et cetteversion du Barbiere di Siviglia.

Depuis ses études au Trinity College of Musicà Londres, Jennifer Rhys-Davies a tenu avecsuccès plusieurs rôles majeurs comme ceux deDonna Anna, Donna Elvira, Konstanze, laReine de la Nuit, Pamina, Miss Jessel (TheTurn of the Screw), Lucia, Semiramide et LadyMacbeth. Au Royal Opera à Covent Garden,elle a été Berta (Il barbiere di Siviglia), Amaltea(Mosè in Egitto), Clorinda (La Cenerentola),Marianne (Der Rosenkavalier), Anna (Nabucco)et Sieglinde, chantant aussi la Sopranoitalienne (Capriccio) au Festival deGlyndebourne, Olympia, Antonia et Giulietta(Les Contes d’Hoffmann) au Grand Théâtre deLimoges et Elisabetta (Maria Stuarda) auThéâtre de Bâle. Parmi ses enregistrements,notons Orazi e Curiazi de Mercadante pourOpera Rara et, pour Chandos en collaborationavec la Peter Moores Foundation, des extraitsde Der Rosenkavalier.


Le Chœur de l’English National Opera estl’un des plus beaux atouts de cette compagnielyrique. Remarquable autant pour la puissancede son chant que l’intensité de son jeu, cetensemble a enthousiasmé le public dansd’innombrables productions de l’EnglishNational Opera. Ces soixante-huit choristes,riches d’une vaste expérience et d’unemultitude de talents, marquent de leur sceautoutes les représentations auxquelles ilsparticipent. Le Chœur a triomphé entre autresdans Guerre et Paix de Prokofiev, Lady Macbethde Mtsensk de Chostakovitch, Billy Budd etPeter Grimes de Britten, Boris Godounov deMoussorgsky, Carmen de Bizet et Otello deVerdi. Leur enregistrement de ce dernier opéra,dans une mise en scène de Jonathan Miller etsous la direction de Mark Elder, sortiraprochainement chez Chandos grâce aufinancement de la Peter Moores Foundation,tout comme leur version de Werther avec DameJanet Baker sous la baguette de Sir CharlesMackerras et leur enregistrement combiencélèbre du cycle de l’Anneau dirigé par SirReginald Goodall. Ils ont aussi enregistré pourChandos, en collaboration avec la Peter MooresFoundation, Maria Stuarda, Giulio Cesare,Rigoletto (dans la mise en scène de JonathanMiller) et La traviata.

Salué autant par la critique que par le public,L’Orchestre de English National Opera, avecBarry Griffiths comme premier violon, s’est vudécerner ces dernières années plusieurs prixprestigieux comme le Prix de la RoyalPhilharmonic Society et un Olivier Award poursa contribution exceptionnelle au mondelyrique. L’Orchestre est au cœur de la vieartistique de la Compagnie et outre lesreprésentations lyriques au Coliseum à Londres,il se produit également en concert. De plus, denombreux membres de l’Orchestre participentau Projet Bayliss mis sur pied par la branche dela Compagnie chargée de l’éducation ainsiqu’au développement de nouveaux opéra avecl’English National Opera Studio, comme TheSilver Tassie de Mark Anthony Turnage dont lacréation mondiale est prévue pour février 2000.L’Orchestre a participé à de nombreuxenregistrements, comme le fameux cycle del’Anneau dirigé par Sir Reginald Goodall quidoit prochainement paraître chez Chandosgrâce au financement de la Peter MooresFoundation, tout comme son enregistrement deWerther avec Dame Janet Baker sous la baguettede Sir Charles Mackerras et celui d’Otello deVerdi sous celle de Mark Elder. Parmi ses autresenregistrements pour Chandos, encollaboration avec la Peter Moores Foundation,

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notons Maria Stuarda, Giulio Cesare, Rigoletto(dans la mise en scène de Jonathan Miller) etLa traviata.

Né à Legnago près de Vérone, Gabriele Bellinifit ses études au Conservatorio BenedettoMarcello à Venise et au ConservatorioGiuseppe Verdi à Milan dont il sortit diplôméen cor, en composition et en directiond’orchestre. Il poursuivit ses études dedirection d’orchestre avec Franco Ferrara,Hermann Scherchen, Sergiu Celibidache etHans Swarowsky. Sa carrière l’a conduit danstoute l’Europe et aux Etats-Unis et il acollaboré plusieurs saisons avec ClaudioAbbado au Teatro alla Scala à Milan. Il atravaillé comme directeur artistique etdirecteur musical du Grand Opera duConnecticut, dirigeant aussi à l’occasion

l’American Symphony Orchestra et à l’Opérade Cincinnati. Il commença à collaborer avecl’Orkest van Hetoosten à Opera Forum àEnschede aux Pays-Bas en 1988, assumant lesfonctions de chef principal de l’Orchestre de1992 à 1997; durant cette période, il dirigeaentre autres Macbeth, Stiffelio, Rigoletto, Iltrovatore, Falstaff, Madama Butterfly, Tosca etWozzeck. En 1998 il inaugura le FestivalDonizetti à Bergame avec L’elisir d’amore, ydirigeant par la suite La bohème. Récemment,Gabriele Bellini a dirigé Norma à Groeningen,La rondine au Teatro del Giglio à Lucca, Lindadi Chamounix à Bologne et I puritani enEspagne. Il a également dirigé Eine Nacht inVenedig au Komische Oper à Berlin et s’estproduit à l’Opéra de Norvège à Oslo, au RoyalOpera à Covent Garden ainsi qu’à Göteborg etLeipzig.


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Gioachino Rossini: Il barbiere di Siviglia

Rossini compose 40 opere – tutte prima delsuo trentottesimo compleanno, allorché avevaancora 38 anni di vita – eppure ci fu untempo in cui fu ricordato come l’autore di unasola opera: Il barbiere di Siviglia.

Ciò fu particolarmente vero mentre Wagnerregnava supremo, fra il 1880 e il 1920 circa.Le molte opere serie di Rossini erano svanite,eccetto un occasionale Guillaume Tell o Mosèin Egitto, allestite come omaggio ad un anticomonumento. Persino opere comiche, comeL’italiana in Algeri o La Cenerentola, di gransuccesso al loro tempo e di nuovo ai giorninostri, erano in eclisse. Ma la marcia delBarbiere continuava. Anno dopo anno viapparvero alcuni dei migliori cantanti, e alcunidei peggiori; negli anni 40 di questo secolovenne persino trasformato in un musical per lescene di Broadway, con il titolo di Once OverLightly, con un Figaro russo; un esperimentoche finì per essere una volta di troppo.

Cosa c’è in questa opera che la mantienesempre verde? Il successo, di quando inquando, si autoalimenta: fra due commedie odopere che funzionano egualmente bene sullascena una può essere rappresentata più di

frequente dell’altra perché meglio conosciuta.Il barbiere era già famoso quando l’oberatoRossini e il suo librettista Cesare Sterbini loscelsero nel gelido inverno romano del 1816.La commedia scritta da Beaumarchais nel1775 era ancora salda sulla scena, come lo ètuttora in Francia, aiutata dal trionfo dellasuccessiva Le Mariage de Figaro (la terzacommedia della trilogia, La Mère coupable (Lamadre colpevole), è un melodramma uggioso esentenzioso: Beaumarchais era stato lasciatoindietro dalla Rivoluzione Francese, con le sueesigenze di gravità). Il barbiere originale – bentornita commedia d’intrighi – era basato sulleconvenzioni dell’opera comica, riportandosialla vecchia commedia italiana delle maschere,con la più vetusta delle trame, il vecchio tutoreil cui piano di sposare l’avvenente pupilla èmandato a monte dall’amore giovane e daiservitori scaltri; in effetti, Beaumarchaisoriginariamente l’aveva scritto con dei“numeri” da mettere in musica.

Ciò che rese speciale la commedia fu ilcarattere di Figaro, quel tipo di uomo comunenon comune, destinato ad avere un ruolocospicuo nella rivoluzione: il factotum che vive

d’espedienti e che non ha rispetto per coloroche gli sono socialmente superiori (fino ad uncerto punto finché durava la loro superiorità)ma che è sempre pronto ad avere la meglio sudi loro o ad approfittarsene. Nell’opera, dovele parole devono essere molto più limitate chenella commedia, il suo carattere risulta un po’più grossolano; il suo vigore plebeo s’imponenella sua famosa aria introduttiva così comenel suo schietto interesse al denaro.

Con la commedia ben affermata, il regnantecompositore del tardo Settecento, GiovanniPaisiello, ne fece un’opera comica. QuestoBarbiere progredì con successo attraversol’Europa dopo la sua prima esecuzione aS.Pietroburgo nel 1782. Oggidì rare esecuzioniin Festivals la rivelano un’opera dilettevole emelodiosa, con una scena divertente distarnuti e sbadigli per i servitori di Bartolo, mapiuttosto blanda e lenta per il gusto moderno.Nel 1816, quando Rossini si mise al lavoro,Paisiello era già passato di moda, in parteperché la musica passava di moda nel giro diuna trentina d’anni (un repertorio di opere cheerano riprese più volte stava appenaformandosi), ma in particolare perché gli annidelle guerre rivoluzionarie e napoleonicheavevano introdotto un pubblico nuovo: piùborghese, più impaziente, più avido di forti

sensazioni, specialmente di quelle suscitatedalla musica militare. Rossini gli fornì proprioquello che voleva: sprizzo, guizzo, razzo.

La storia che la prima del suo Barbiere nonandò a segno perché parte del pubblico erainsorta a favore di Paisiello è quasi certamenteuna favola. Era uso comune che diversicompositori scrivessero opere sullo stessosoggetto, e persino con lo stesso libretto.Rossini e Sterbini usarono un titolo nuovo perla loro versione (originariamente fu chiamataAlmaviva – con buona causa, giacché la stellaera il tenore, Manuel García), e smorzarono lafamosa scena degli starnuti e sbadigli: anchequesta era una normale precauzione.Stamparono inoltre una nota in cuiaffermavano di non avere inteso essere scortesinei riguardi del vecchio compositore (che morìpoco più di tre mesi dopo). Quello che sembrasia successo è che dei compositori rivali piùgiovani sarebbero stati gelosi e che i sostenitoridi un teatro concorrente si sarebbero oppostiallo sconfinamento del Teatro Argentina nelcampo dell’opera comica. La principale ragionedei fischi della prima sera, comunque, fu che laconsueta fretta di una stagione lirica italiana fu,questa volta, un po’ troppo affrettata.

L’Argentina, il principale teatro romano, disolito in questa stagione avrebbe allestito


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quando dovrebbero uscirsene in punta dipiedi, e altrettanto fa, alla fine dell’opera, iltrio in cui Figaro e gli amanti continuano aproclamare la stessa urgenza finché non vienloro meno la scala a pioli. Qui sono gliantenati del coro dei poliziotti ne The Piratesof Penzance, “With catlike tread” (A passifelini). I personaggi usano il teatro per beffarsidei loro stessi caratteri teatrali.

All’inizio di quel trio finale, Figaro deride lecanore smancerie di Almaviva mentre il tenoreinneggia all’amore di Rosina e suo quandoinvece dovrebbero darsi alla fuga. Questa èsoltanto l’ultima di molte parodie musicali. Lacanzoncina di Bartolo nella scena della lezioneprende in giro la musica che avrebbe sentito ingioventù (ante-Paisiello) e la sua grande aria,con le sue elaborate ripetizioni, usa lapedanteria musicale per burlarsi del vecchio earido avvocato. Gli eterni annunci di pace egioia del presunto abate al principio dellascena della lezione scimmiottano il modo incui le stesse parole venivano messe in musicain molti pezzi liturgici. L’iniziale elogiodell’oro di Figaro, che da’ il via al suo duettocon Almaviva nella prima scena, imita il tonosolenne dell’opera seria.

La parodia è ancora più tagliente quandoRossini beffeggia i suoi stessi procedimenti

preferiti – il crescendo, che incalza verso unoscoppio fragoroso, e l’elegante cascata di notedella coloratura. Nelle sue opere serie ambeduepossono sembrare arbitrari. Nel Barbiere l’usostraordinario del crescendo è, una volta tanto,interamente appropriato all’argomento di cuisi canta: il graduale dilagare della calunnianella famosa aria di Basilio. Alle orecchieassuefatte – quali erano quelle del pubblico deltempo – il crescendo, con improvvisemodulazioni che culminano nel “colpo dicannone”, sembra dire, “Vedete? Io,dopotutto, son capace di essere debitamentedrammatico con i migliori”; un’altra sottilecaricatura della forma operistica.

Per quanto riguarda la coloratura, Rossini lausa nell’aria introduttiva del tenore perpresentare Almaviva come un amante sollecitoed elegante (in origine l’opera finiva, proprioprima dello schieramento finale, conun’elaborata aria di bravura per García, ma ciòostacolava l’azione; più tardi, il compositore ladiede al mezzosoprano protagonista aconclusione della Cenerentola). Altrove lacoloratura serve a delineare nettamente lapersonalità di Rosina. La sua famosa primaaria descrive il suo carattere deciso, il suocontrollo della situazione e la sua capacitàd’ironico commento. Questa non è l’eroina

un’opera seria. La sua ragione di chiedere aRossini di scrivere il Barbiere, piuttosto che unqualsiasi dramma classico, era finanziaria: lacaduta di Napoleone e il ritorno del Papaavevano fatto perdere al teatro la sovvenzione;la crisi economica che imperversava in Europaaveva diminuito l’affluenza del pubblico el’opera comica era relativamente a buonmercato. Pertanto, l’impresario-proprietario erariuscito a mettere insieme una compagnia solocon sforzi frenetici (“c’è quanto basta per farsputare sangue ad un povero diavolo comeme”, scrisse) e la stagione aprì con più di duesettimane di ritardo. Rossini ebbe un po’ menodi quattro settimane fra ricevere la prima partedel libretto (il 25 gennaio) e sedersi a suonareil continuo, come era d’uso, la prima sera (il20 febbraio). Per un compositore ciò non erafuori dell’ordinario, ma la compagnia eraprobabilmente esausta dall’iniziale furia di fardecollare la stagione (con L’italiana in Algeri) epoi mettersi a studiare ed a provare il Barbiere,dando allo stesso tempo cinque recite allasettimane. L’inciampo della prima sera sitrasformò in successo nelle repliche, dopo diche l’opera non conobbe più ostacoli.

Oltre ad essere il meglio della pura operacomica nella tradizione italiana, fu anche quasil’ultima. La Cenerentola dello stesso Rossini

l’anno successivo e le opere comiche diDonizetti che più si ricordano (L’elisir d’amoree il Don Pasquale) hanno un tocco disentimento o di realismo che denota un’epocapiù ammorbidita. In ogni caso l’opera comicastava per passare di moda: non si adattava airegimi monarchici, timorosi e rigorosi, cheerano stati riportati in auge dopo la caduta diNapoleone, né al ceto medio divenuto direcente rispettabile. Ma il Barbiere distillal’indole della vecchia opera comica, un’unionedell’assurdo con lo spietato.

“Gioca con tutto: con lo spirito, la filosofia,il dramma, con gli attori e col pubblico, con ilteatro interno”. Così scrisse Bernard Shaw diOscar Wilde. Potrebbe essere stato scritto diRossini. (“Giocare con la filosofia” potrebbesembrare al di là dei suoi mezzi – fin quandonon si ricorda che Hegel e Schopenhauer,ambedue filosofi austeri, ebbero un’altaopinione delle sue opere.) Dal principio allafine Rossini gioca con le convenzionidell’opera – così come già aveva fatto nelTurco in Italia, dove uno dei personaggi vascrivendo l’opera mentre procede l’azione.Nella scena introduttiva del Barbiere, iringraziamenti dei musicisti che fanno laserenata prendono in giro l’usanza dei corioperistici di far grande e ripetuto fracasso


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romantica di un amore infelice: scintillante esardonica nel suo duetto con Figaro, tuttafascino e voluttà nella parte successiva dellascena della lezione (mentre Bartolo dorme),Rosina è – come ben possiamo sentire – unaragazza in gamba. (Nell’Ottocento i soprani siappropriarono la parte e trasformarono lascene della lezione in un concerto infarcito ditutto un po’, da “Home, Sweet Home” astravaganti variazioni. La parte appartiene a unmezzosoprano come Della Jones – la naturalevoce femminile italiana, secondo la definizionedi Rossini – e la scena della lezione funzionameglio se lasciata proprio com’è.)

Il fulcro dell’opera sta nei due concertati,composti con suprema abilità – il lungoFinale dell’Atto I e il quintetto in cui gli altriquattro personaggi esortano lo sconcertatoDon Basilio a tornarsene a letto. Ognuno ècollegato attraverso mutabili sezioni da unapiccola frase musicale, vivace e ricorrente, e daun accompagnamento saldo e inebriante. Lavista e il suono di esseri umani che sicomportano come macchine è una potentecausa d’ilarità in teatro. Con l’ultimaprecipitata sezione del Finale dell’Atto I arrivaquella che al tempo veniva chiamata“l’organizzata totale follia rossiniana”. Qui ealtrove Rossini lascia che la musica prenda il

comando e tiene poco conto delle parole.Eppure le parole contano, come quando tuttidicono a Basilio che è “giallo”, o come quandoRosina smentisce la sua “docilità” con laparoletta “ma”. Con una compagniainteramente italiana, che trae il massimovantaggio dal testo originale (il che non sitrova spesso in dischi intesi per un pubblicointernazionale) certe cose si notano. Così comesi notano, in una maniera diversa, quando –come accade qui – tutti i cantanti hanno unalingua in comune, e sia pure la lingua di unpaese dove la temperatura, poco primadell’alba, raramente incoraggia le serenate.

© 1995 John RosselliTraduzione: Marcella Barzetti

La tramaIl Conte Almaviva, nobile spagnolo, èinnamorato di Rosina, pupilla di Don Bartolo,un vecchio dottore, che intende sposarla luistesso.

Atto ILa strada davanti alla casa del Dott. BartoloIl Conte, assistito di un gruppo di musicanti, fala serenata a Rosina. Per farsi introdurre a leisollecita l’aiuto di Figaro, il barbiere, che si

vanta di esser capace di maneggiare gli affaridella città. Eludendo la vigilanza del tutore,Rosina riesce a far cadere dal balcone una letteranella quale chiede ad Almaviva il suo nome ereciproca il suo amore. Il Conte si presentaallora a Rosina come uno studente poverochiamato Lindoro. Figaro suggerisce che perpotersi introdurre nella casa il Conte dovrebbepretendere di essere un soldato acquartieratopresso il Dott. Bartolo, ed ubriaco.

Dentro la casaIl Dott. Bartolo ha sentito correr vocisull’interesse di Almaviva a Rosina e decide disposarla immediatamente. Il maestro di canto diRosina, un abate di pochi scrupoli a nome DonBasilio, è confidente di Bartolo. Almaviva,travestito da soldato, arriva a prendere“quartiere” presso il Dott. Bartolo. Rosina èincantata quando riconosce il suo ammiratore.L’indignazione del Dott. Bartolo alcomportamento del “soldato” causa un talefracasso che i vicini chiamano le guardie. IlConte sfugge all’arresto con gran furia di Bartolo.

Atto IINella casa di Bartolo, più tardi lo stesso giornoIl Conte assume un altro travestimento edentra nella casa come Don Alonso, maestro di

musica. Dice di esser venuto a dare una lezionedi canto a Rosina al posto di Don Basilio che siè improvvisamente ammalato. Sotto il pretestodella lezione il Conte dice a Rosina che fuggiràcon lei a mezzanotte. Figaro, che è venuto afare la barba a Bartolo, riesce a trafugare lechiavi del balcone. Con loro costernazioneappare Basilio, che però, quando gli vienepassato un sacchetto di denaro, convalide lapretesa di essere malato. Bartolo, insospattito,sorprende gli amanti in compromettenteconversazione.

Quando il Conte e Figaro sono partitiBartolo confronta Rosina con la lettera che essaha indirizzato a Lindoro e la coglie di sorpresaquando le dice che Lindoro è l’agente diAlmaviva che vuole sporsarla solo per la suadote. Rosina acconsente a sposare Bartoloimmediatamente e gli rivela la proposta fuga.

Figaro e il Conte ritornano all’oraprestabilita e si introducono nella casa dallafinestra. Rosina respinge “Lindoro” ma poiscopre che lui stesso è Almaviva. Gli cade fra lebraccia. Non riescono però a fuggire perchéBartolo ha sottratto la scala appoggiata sotto lafinestra. Basilio, giungendo con un notaio chedovrebbe sposare Rosina al suo tutore, si lasciafacilmente corrompere a far da testimonioinvece alle nozze di Rosina con il Conte.


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Bartolo arriva troppo tardi ed è costretto ariconoscere che ha perduto Rosina.

Negli ultimi dieci anni Bruce Ford si èaffermato come tenore del bel canto a tuttotondo, specializzandosi nei ruoli di Mozart edi Rossini. Dopo aver debuttato al RossiniFestival di Pesaro nel 1990, interpretando ilruolo di Agorante in Ricciardo e Zoraide ameno di due settimane dalla notizia, è statoregolare ospite a Pesaro (cantando nell’Otello,Il barbiere di Siviglia e Zelmira di Rossini),nonché nella maggior parte dei principaliteatri lirici e festival d’Europa. Le sueapparizioni al Teatro alla Scala di Milano lohanno visto nei ruoli di Uberto (La donna dellago diretto da Riccardo Muti), Paolo Erisso(Maometto II) e Belmonte (Die Entführung ausdem Serail diretto da Wolfgang Sawallisch).Con The Royal Opera, Covent Garden hagoduto di una serie di successi tra cuiAlmaviva, il ruolo del protagonista nelMitridate, re di Ponto di Mozart, Ferrando inCosì fan tutte, Lindoro in L’italiana in Algeri eOsiride in Mosè in Egitto. Acclamateapparizioni, tra le altre, a San Francisco,Chicago, Los Angeles, Salisburgo, Amsterdam,Zurigo, Losanna, Ginevra, Catania, Firenze,Napoli, Bologna, Lione e Parigi.

Bruce Ford ha inciso numerose registrazioniper Opera Rara, tra cui Il crociato in Egitto diMeyerbeer, Medea in Corinto di Mayr,Rosmonda d’Inghilterra di Donizetti, Ricciardo eZoraide di Rossini, Maria, regina d’Inghilterradi Pacini, Maria de Rudenz di Donizetti,l’Otello di Rossini e due dischi recital (Rossini– Three Tenors e Romantic Heroes). PerChandos/Peter Moores Foundation haregistrato un recital da solista di arie d’opera.

Andrew Shore è riconosciuto come il primobaritono buffo della Gran Bretagna e comesorprendente cantante/attore. Ha lavorato pertutte le principali compagnie britanniche,compresa la English National Opera, TheRoyal Opera, Covent Garden, Opera North,Glyndbourne Festival Opera, Scottish Opera eWelsh National Opera, oltre ad essere apparsoall’estero con San Diego Opera, New IsraeliOpera, Opéra national de Paris-Bastille,Opéra-Comique, Gran teatre del Liceu aBarcellona, nonché a Lione, Nantes,Montpellier, Copenaghen, Amsterdam,Vancouver e Ottawa. I suoi numerosi impegnihanno incluso il ruolo da protagonista inWozzeck, Falstaff, King Priam, Gianni Schicchie Don Pasquale, nonché Dulcamara (L’elisird’amore), Don Alfonso (Così fan tutte), Figaro

(Le nozze di Figaro), Papageno, Re Dodon (LeCoq d’or), Leandro (L’amore delle tremelarance), Dikoy (Kát’a Kabanová), DrKolenaty (Il caso Makropulos), Shishkov (Dauna casa di morti), Frank (Die Fledermaus), ilBarone (La Vie parisienne), il BaroneTrombonok (Il viaggio a Reims), Varlaam (BorisGodunov) e Faninal (Der Rosenkavalier). Le sueregistrazioni per Chandos/Peter MooresFoundation comprendono L’elisir d’amore, DonPasquale, La bohème e brani scelti da DerRosenkavalier oltre questo Barbiere di Siviglia eTosca, vincitrice di un premio.

Della Jones è nata a Neath e ha studiato alRoyal College of Music dove ha vinto moltipremi, tra cui la borsa di studio alla memoriadi Kathleen Ferrier. È apparsa con tutte leprincipale compagnie liriche britanniche, intutta Europa, negli Stati Uniti, in Canada,Russia e Giappone. Il suo repertoriocomprende i ruoli da protagonista inAriodante, La Cenerentola e Carmen, nonchéquelli di Rosina, Herodias (Salome), Baba ilTurco (The Rake’s Progress), Marcellina,Adalgisa, Dido (Les Troyens e Dido andAeneas), Donna Elvira, Brangäne, Hermione(A Midsummer Night’s Dream), Juno (Semele) ela Locandiera (Boris Godunov). Della Jones

trasmette regolarmente alla radio e allatelevisione e le sue innumerevoli registrazioniincludono Alcina, L’incoronazione di Poppea,La clemenza di Tito, e Die Kathrin diKorngold. Ha registrato Gabriella di Vergy(Donizetti), Maria Padilla (Donizetti), Ilcrociato in Egitto (Meyerbeer), Ricciardo eZoraide (Rossini) e Dinorah (Meyerbeer) perOpera Rara, e tra le numerose registrazioni suChandos troviamo Sancta Susanna(Hindemith), The Bear (Walton) nonché, perChandos/Peter Moores Foundation, Latraviata e Giulio Cesare.

Nato in Cornovaglia, Alan Opie ha studiatoalla Guildhall School of Music e al LondonOpera Centre. È stato Baritono Principale conla English National Opera per diverse stagionied ha cantato con tutte le principalicompagnie liriche britanniche. All’estero èapparso nei teatri lirici di Bayreuth, Parigi(Opéra national de Paris-Bastille), Amsterdam,Chicago, Milano (Teatro alla Scala), Monaco(Opera nazionale della Baviera), Berlino,Vienna, Bruxelles e New York (TheMetropolitan Opera). Recentemente è apparsonel ruolo di Beckmesser (Die Meistersinger vonNürnberg) all’Opera nazionale di Vienna ed èstato invitato a ritornare nel ruolo di Balstrode


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in Peter Grimes, ruolo che ha interpretatoanche nella registrazione dell’opera Chandosche ha vinto il Grammy Award. È apparso inOutis di Luciano Berio alla Scala di Milano, eal Châtelet théâtre musical di Parigi ed è statoMr Redburn in interpretazioni parzialmenterappresentate della versione in due atti delBilly Budd di Britten presso il Barbican Centredi Londra, una produzione successivamenteregistrata da Chandos per essere distribuitanella primavera 2000. Altre apparizioni suChandos includono The Rape of Lucretia(Britten), Martin’s Lie (Menotti), Troilus andCressida (Walton), nonché Maria Stuarda,Pagliacci e La bohème (tutte in collaborazionecon la Peter Moores Foundation).

Nato a Canterbury, Peter Rose ha studiatomusica all’Università dell’East Anglia ed hastudiato con Ellis Keeler alla Guildhall Schoolof Music and Drama. Ha debuttato nell’operanel ruolo di Commendatore al GlyndebourneFestival Opera di Hong Kong nel 1986 ed èstato basso principale con la Welsh NationalOpera fino al 1989. Si è esibito diretto daiprimi direttori al mondo ed è apparso contutte le maggiori compagnie lirichebritanniche, tra cui The Royal Opera, CoventGarden, English National Opera e Scottish

Opera. All’estero ha cantato alla MetropolitanOpera, New York, all’Opéra-Comique, Parigi,Opera nazionale tedesca, Berlino, Operanazionale di Amburgo, Opera nazionale diVienna, Lyric Opera di Chicago e New IsraeliOpera, Tel Aviv, nonchè a San Francisco,Amsterdam, Colonia, Roma e Seattle. È ancheapparso nei principali festival di tutto ilmondo, come quelli di Orange, Aix-en-Provence, Istanbul, Bregenz e al Maggiomusicale di Firenze. Tra i numerosi ruoli da luiinterpretati Ramfis, Fasolt, Hunding, Pimen,Osmin, Re Marke, Barone Ochs, Rocco,Bottom (A Midsummer Night’s Dream),Banquo (Macbeth), Cadmus/Somnus (Semele),Gessler (Guillaume Tell), Mustafa (L’italiana inAlgeri) e Walter (Luisa Miller). Le suenumerose registrazioni comprendono, perChandos/Peter Moores Foundation, la Toscache si è aggiudicata un premio e questoBarbiere di Siviglia.

Jennifer Rhys-Davies, che ha studiato alTrinity College of Music, ha raggiunto ungrande successo in ruoli principali comeDonna Anna, Donna Elvira, Konstanze,Regina della notte, Pamina, Miss Jessel (TheTurn of the Screw), Lucia, Semiramide e LadyMacbeth. Alla Royal Opera, Covent Garden

ha interpretato il ruolo di Berta (Il barbiere diSiviglia), Amaltea (Mosè in Egitto), Clorinda(La Cenerentola), Marianne (DerRosenkavalier), Anna (Nabucco) e Sieglinde, eha cantato come Soprano Italiano (Capriccio)al Glyndebourne Festival, Olympia, Antonia eGiulietta (Les Contes d’Hoffmann) al Grandthéâtre de Limoges e Elisabetta (MariaStuarda) al Teatro di Basilea. Tra le sueregistrazioni, per Opera Rara, Orazi e Curiazidi Mercadante e, per Chandos/Peter MooresFoundation, brani scelti da Der Rosenkavalier.

Il Coro di English National Opera è una dellemigliori risorse dell’Opera. In innumerevoliproduzioni della English National Opera haentusiasmato le platee con il potere del canto el’intensità della recitazione. Si tratta disessantotto coristi e l’ampia gamma di capacitàed esperienza che portano nelle esibizionicostituiscono il tratto distintivo di ogniproduzione in cui appaiono. Particolari trionfiper il Coro sono stati Guerra e pace diProkofiev, Lady Macbeth dei macelli diShostakovich, Billy Budd e Peter Grimes diBritten, Boris Godunov di Mussorgsky, laCarmen di Bizet e l’Otello di Verdi. La loroultima registrazione, nella produzione diJonathan Miller diretta da Mark Elder, uscirà

presto per Chandos con il patrocinio dellaPeter Moores Foundation, come le lororegistrazioni del Werther con Dame JanetBaker diretti da Sir Charles Mackerras e delfamoso “Ciclo del Ring” diretti da Sir ReginaldGoodall. Altre registrazioni Chandos/PeterMoores Foundation sono Maria Stuarda,Giulio Cesare, Rigoletto (produzione diJonathan Miller) e La traviata.

Acclamata dalla critica e dal pubblico,L’Orchestra di English National Opera, primoviolino Barry Griffiths, ha ricevuto negliultimi anni diversi premi prestigiosi, tra cui ilRoyal Philharmonic Society Music Award e unOlivier Award for Outstanding Achievement inOpera. L’Orchestra è al centro della vitaartistica dell’Opera e, oltre a esibizioni liricheal Coliseum di Londra è stata anche vista sulpalco in concerto. Inoltre molti dei musicistipartecipano al lavoro del Baylis Programme deldipartimento di educazione e “outreach”dell’Opera e con l’English National OperaStudio allo sviluppo di nuove opere, inparticolare The Silver Tassie di Mark AnthonyTurnage che uscirà in prima mondiale nelfebbraio 2000. L’Orchestra appare innumerose registrazioni, tra cui il famoso“Ciclo del Ring” diretto da Sir Reginald


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Goodall, che apparirà presto su Chandos conil patrocinio della Peter Moores Foundation,come pure le sue registrazioni del Werther conDame Janet Baker diretto da Sir CharlesMackerras e dell’Otello di Verdi diretto daMark Elder. Altre registrazioni per Chandos/Peter Moores Foundation sono Maria Stuarda,Giulio Cesare, Rigoletto (produzione diJonathan Miller) e La traviata.

Nato a Legnago nei pressi di Verona, GabrieleBellini è stato educato al ConservatorioBenedetto Marcello di Venezia e alConservatorio Giuseppe Verdi di Milano, dovesi è diplomato in corno, composizione edirezione. Ha continuato i suoi studi perdiventare direttore d’orchestra con FrancoFerrara, Hermann Scherchen, SergiuCelibidache e Hans Swarowsky. I suoi impegniprofessionali hanno spaziato in tutta l’Europae negli Stati Uniti ed includono collaborazionicon Claudio Abbado al Teatro alla Scala diMilano per molte stagioni. Ha lavorato come

Direttore Artistico e Direttore d’Orchestradella Connecticut Grand Opera e comedirettore ospite dell’American SymphonyOrchestra e alla Cincinnati Opera House. Unacollaborazione con la Orkest van Hetoostenall’Opera Forum di Enschede, Paesi Bassi,iniziata nel 1988, è culminata nella suanomina a Direttore Capo dell’Orchestra dal1992 al 1997; durante questo periodo hadiretto le esibizioni di Macbeth, Stiffelio,Rigoletto, Il trovatore, Falstaff, MadamaButterfly, Tosca e Wozzeck, tra le altre. Nel1998 ha aperto il Festival di Donizetti aBergamo con L’elisir d’amore ed è tornato adirigere La bohème. Recentemente GabrieleBellini ha anche diretto la Norma aGroeningen, La rondine al Teatro del Giglio diLucca, Linda di Chamounix a Bologna e Ipuritani in Spagna. Ha anche diretto EineNacht in Venedig alla Komische Oper diBerlino ed è apparso all’Opera norvegese diOslo, The Royal Opera, Covent Garden comepure a Göteborg e Lipsia. Della Alan

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Be silent, she’s coming.If only she’d hear me:I need my love so near me to end my despair!How I love her now and ever.

Undying devotion!I will love her forever.Oh, blissful emotion beyond compare.(It grows lighter.)Hey, Fiorello!

FiorelloSignore…

The CountWell, do you see her?…

FiorelloSorry, no.

The CountAll my hopes will come to nothing!

FiorelloDawn has broken, we’ll be discovered.

The CountShe ignores me… I have failed.It is useless… You musicians…

ChorusYes, Signor…

The CountHe’ll pay you, he’ll pay you.

(The Count gives his purse to Fiorello, who distributes money to the musicians.)

4

No more singing, no more playing.I no longer need your music, so you can go.

FiorelloSo good morning, you’ve got your money,if we need you, we’ll let you know.

(The musicians gather around the Count, kissing his hands and cloak. He is annoyed and tries to chase them away. Fiorello does the same.)

ChorusThank you, thank you,Sir, we thank you, at your service…Such an honour, thank you.You have done us such a favour.If you need us we will stay.It’s an honour to have met him.He is noble and he’s sincere!

FiorelloQuiet, quiet! What a racket!Damn you people! Go away!

The CountThank you, thank you, that’s enough now,I don’t need you, please be quiet…Damn you people!Why can’t you stop it?Noisy rabble. Go away!All this noise will wake the neighbours,stop this chaos, they will hear.

FiorelloDamn you people, can’t you stop it?Noisy rabble, go away.

5

COMPACT DISC ONE

OVERTURE

Act 1

Scene 1

A square in Seville

The time is just before dawn. At the left is the house of Bartolo, the windows having closed blinds and bars which may be opened with a key. Fiorello, carrying a lantern, leads in a group of musicians with their instruments.

Introduction

Fiorello (approaching cautiously)Piano, pianissimo, don’t make a sound.This is the house, gather around, gather around.Come gather round!

ChorusPiano, pianissimo, don’t make a sound.Come gather round.

FiorelloEv’rything’s quiet, there’s no one nearwho might disturb us, or overhear.

The CountFiorello, you there?

FiorelloSignor, I’m here.

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1

The CountYour friends… they’re ready?

FiorelloOh, have no fear.

The CountBravi, bravissimi.Please do be silent;piano, pianissimo,don’t make a sound.

ChorusPiano, pianissimo,don’t make a sound.

FiorelloDon’t make a sound.Gather around… Don’t make sound.

(The musicians tune their instruments and the Count sings, accompanied by them.)

Cavatina

The CountSee how the smile of heavensmiles as this fair dawn is breaking.Are you not yet awaking,ah, how can you still sleep?

Awake, now, arise my darling,come my beloved, save me,comfort the pain you gave me;love’s dart has pierced so deep!

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Quiet, quiet!Quiet, quiet, what on earth am I to do?

(The musicians go out.)

Recitative

The CountWhat common people!

FiorelloI’m sure they will have woken all the neighbours with that terrible racket… They’ll never work again…I’ll see to that!

Figaro (offstage)La la la la la la la.

The CountDamnation, someone’s coming.I’ll hide round this corner’til I see what is his game.Even in daylight my love will know no shame.

(He hides under the portico.)

Scene 2

(Figaro, with a guitar slung round his neck; the Count [hidden])

Cavatina

Figaro (entering)La la la lera, la la la la.Here at your service to do or die am I!

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I have a finger in every pie have I!Ah, what a life I lead,oh, so fulfilling,to be a barber and I’m the best!Ah, bravo Figaro, bravo, bravissimo, bravo!La la la la la la la la la la.Fortune has singled me out for success.Not a dull moment, life is all action,job satisfaction’s what I enjoy.Lots of adventure, money and laughter,all I’ve been after since I was a boy.Brushes and brilliantine,scissors and shaving cream,these are the precious tools of my trade.Part of my service, for all enquirers,helping the ladies and their admirers.Ev’ryone’s after me, after my services,widows and virgins, dandies and urchins:give me a kiss-curl, help me find this girl…Short back and sides please…Find me a bride please…Figaro, Figaro, Figaro.It’s all too much, I’m busy, queue up.Too many!Do me a favour,please, wait your turn.What now? Eh!But how?Figaro come, Figaro go, Figaro yes, Figaro no.You need a gigolo: trust in old Figaro,you want a barber, I am your man.

Ah, bravo Figaro, bravo, bravissimo.You have a problem, I have the answer,you cannot solve it, Figaro can.I solve your problems, I am your man.

Recitative

FigaroAh ha! What could be better?To be a barber is so very undemanding that I’ve lots of little sidelines, it’s easy money… reward for my experience and wisdom!I’ll explain: without Figaro no girl in the whole of Seville can get married and all the wealthy widows ask me to find them husbands.Listen… under cover of hairdressing by day with my guitar as alibi at night-time, I’m a proper marriage broker.I fix them up, it’s all part of the service –What a life… such fun!What a vocation… but I must go and open the shop.

The Count (stepping forward)(I know him, or am I mistaken)

Figaro (noticing the count)(Who can this fellow be?)

The Count(Yes, I’m sure I’m right – Figaro!)

Figaro (recognising the Count)At your service… Oh, good heavens, your Lordship!

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The CountKeep your voice down, be quiet.I am here incognito,and I wish to remain so.You see… I’m on a secret mission.

FigaroI like it, I like it, I’ll make myself scarce.

The CountNo!

FigaroYou need me?

The CountCan I still count on your discretion?

FigaroWhy, of course! But you, what brings you to Seville?

The CountWell now, I’ll tell you:in Madrid I saw the girl of my dreams…Ah, what perfection!Daughter of a certain decrepit old doctor who lives in that house there; it was love at first sight.I at once made my mind up,followed her here, and standing night and day,pacing up and down I wait beneath herwindow.


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FigaroYou mean that window… a doctor?Well I can tell you, you have chosen the right street,you lucky fellow… you’ve fallen on your feet.

The CountReally?

FigaroReally! In that house I am the barber,the hairdresser, the surgeon,the herbalist, the vet…I’m indispensible… In fact I run the place!

The CountThis is perfect!

FigaroMoreover, your beloved isn’t the doctor’s daughter,he’s only her guardian.

The CountOh, that’s even better.

FigaroAnd so… quiet!

The CountWhat now?

FigaroThere’s someone coming.

(They hide under the portico.)

Scene 3

(Rosina, then Bartolo on the balcony, and the others)

Rosina (looking out over the square)I cannot see him anywhere. Maybe…

The Count (stepping out from under the portico)Oh, my angel! My goddess! My beloved! At last Isee you… at last!

(The Count hides again.)

Rosina (She holds out a letter.)How can I do it? I must give him this letter?

BartoloGood morning, Rosina.How’s the weather?And what is that paper?

RosinaNothing, nothing, Signore, only the words of that aria from ‘The Girl who lov’d a Stranger’.

The Count (to Figaro)I like it, from ‘The Girl who lov’d a Stranger’…

FigaroHow crafty!

BartoloAnd who may she be, this ‘Girl who lov’d a Stranger’!

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Rosina (to the Count)Oh, haven’t you heard of it?It’s from Rossini’s new opera.

BartoloAn opera?Is it really?I suppose it’s the usual kind of nonsense:these modern operas are quite unfathomable, the story’s always feeble, miserable rubbish, should be made illegal!

Rosina (She lets the letter fall to the pavement.)Oh! How stupid!I have gone and dropp’d it… Will you quickly go and get it?

The CountPerhaps I’d better.

Rosina (to the Count)Pst! Got it?

The Count (stepping out)I heard you… Yes, I’ve got it!

BartoloI’m here. Where is it?

RosinaThe breeze blew it away, try there…

BartoloI still can’t find it… Hey little bossy boots it’s not here.(Damnation. I’m sure she’s up to something.)

Go inside and shut the window!Go, hurry up! Do you hear me?I said go in!

RosinaAlright, Alright! Keep your wig on!

BartoloThat damn window, I’ll have it cemented!Get inside there.

RosinaMust I always be tormented?

Scene 4

(The Count and Figaro, later Bartolo)

The Count (stepping out with Figaro)Poor little innocent creature!Such a terrible existence makes me all the more determined!

FigaroQuickly, quickly. Let’s see what she has written.

The CountGo on then, read it.

Figaro (reading)Your frequent appearances have aroused my curiosity. As soon as my guardian has gone out, find some means of telling me your name, your title and your intentions. It is impossible for me to come out onto the balcony without arousing the suspicion of my tyrannical guardian. But rest

10


assured that in order to break her chains every possible means will be tried by the unfortunate Rosina.

The CountYes, yes! She must be saved! Just a moment, is her guardian as awful as he seems?

FigaroMuch worse. He’s tight-fisted, suspicious, avaricious, always grumbling. He’s obviously past it but he still thinks he’s attractive.You won’t believe this: he’s hell bent on marryingRosina.His only reason is she’s worth a fortune and he can’t wait to get his hands on it…(Hearing the door of Bartolo’s house opening, they get back in a hurry.)Look out, Sir!

The CountWhat?

FigaroThe door is opening.

Bartolo (speaking back into the house)Now then, I’ll be back in a moment.(coming out)Keep the door locked at all costs.If Don Basilio comes here to find me, make himwait.(He locks the door behind him.)

I must marry the girl without delay.Yes, the arrangements must be made today.

The Count (forward with Figaro)Today he will marry my Rosina!The lecherous old weasel!But tell me, my friend, who is this Don Basilio?

FigaroAnother nasty piece of work, a marriage-broker of the worst kind; a useless good-for-nothing who is always cadging money… Hey, he’s a professor of music and teaches poor Rosina.

The CountThat’s worth knowing, now I think I’ve got the picture.

FigaroNow quickly tell me what you wish to say to Rosina in answer to her letter.

The CountI will not tell her my name or my title. It’s important to find out whether she loves me, andloves me for myself, not for the wealth and title of Count Almaviva.

FigaroKeep your voice down! We’re within earshot: look up there… I’m sure I’m not mistaken. Up there behind the shutters I see Rosina. Quick now’s your chance – no one’s looking. A charming canzonetta is all that’s needed to tell her how much you are in love.

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The CountOh, I’m so happy?

FigaroThe next verse… come on… keep going!

The Count (He sings again.)Your Lindoro sincerely confesses that his pedigree scarcely impresses.I lay no fortune or title before you,I’ve come here to tell you, I truly adore you.With a sigh of affection I’ll stayfrom the dawn to the dusk of each day,from the dawn to the end of each day.

RosinaYour Rosina sincerely confessesthat her heart for Lindo…

(One hears the sound of the window being closed.)

Recitative

The CountWhat’s happened?

FigaroIt must be that someone has come into the room.Try again some other time…

The Count (emphatically)No, I can’t wait! I’m going crazy, I want her… whatever happens I must see her today… I must speak to her. And you, I’m relying on you…

12

(He offers his guitar to the Count.)

The CountA canzonetta?

FigaroSurely! Borrow my guitar, quickly do it.

The CountWell, really…

FigaroGod give me patience.

The CountAll right! Let’s try it!

(He takes the guitar and sings to his own accompaniment.)

Canzone

The CountMy poor heart is so full of emotion,I must sing to you of my devotion.I am Lindoro, I truly adore you,be mine I implore you,my heart’s burning for you,and Rosina’s the one word I sayfrom the dawn to the end of the day.

Rosina (her voice is heard singing the ritornello from her window.)Oh, continue beloved I pray!

FigaroYou hear her… you’re doing well!

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FigaroHey, hey, such passion, I’ll see what I can do!

The CountThat’s the spirit. By sunset I want you to get me into the house. Tell me, how can we do it?Come on, you’re so clever – think of something.

FigaroI’m so clever?… Thank you, we’ll see, today though…

The CountOh, come on man, what’s the problem? Ah-ha, I get the message, you needn’t worry, youwill be well rewarded.

FigaroYou mean it?

The CountI mean it.

FigaroSo you’ll make it worth my while?

The CountMoney’s no object. Answer me quickly!

FigaroAll right then. Ah, you don’t realise what aneffect one small word can have upon me. Mydear Lindoro, it’s really rather funny, but I’minspired when someone mentions money.

Duet

FigaroYou need only mention money, precious metal, divine pesetas!And my mind erupts like hot volcanic craters,overflowing with a million bright ideas.

The CountWell, let’s see what money can accomplish,what effect it has on your imagination.Can this powerful volcanic inspiration put an ending to my cares,yes, can this mighty inspirationput an ending to my cares?

FigaroFor a start we must disguise you… For example, as a soldier?

The CountAs a soldier?

FigaroYes, Signore.

The CountAs a soldier? But tell me why.

FigaroThere’s a regiment arriving.

The CountYes, and I know the colonel well.

FigaroVery good.

13 The CountAnd then?

FigaroIt’s simple. We’ll arrange official papers, billetyou within that house. What d’you think then,my Lindoro? What d’you say? Will that not do?I’m a genius, Machiavelli! Bravo, bravo, what aplan! How ingenious!

The CountHe’s a genius, Machiavelli! Bravo, bravo, what aplan! How ingenious!

FigaroWait though, another brainwave! See howmoney helps me think! You’ll be plastered, yes,you’ll pretend that you’ve had far too much todrink!

The CountI’ll be plastered?

FigaroYes, Signore.

The CountI’ll be plastered? Tell my why?

FigaroWhy? If you’d too much to drink, if you seem drunk as a lord, that old man will never think, will never suspect you intend to steal his ward.I’m a genius, Machiavelli!

The CountHe’s a genius! Machiavelli!

The Count and FigaroHow ingenious, bravo, bravo what a plan!

The CountNow what?

FigaroTo work, Sir!

The CountLet’s go then! To battle! Oh, how stupid! I’ve forgotten the most important question… Tell me where can I find you, Where’s your shop then? Tell me where.

FigaroWhere to find me? You can’t miss it! Don’t you worry. My shop is there. (pointing offstage) Look for my barber’s pole striped red and white,Sir, number fifteen, Sir. First on the right, Sir. Wigs in the window, all shapes and sizes. Look for the lantern, I’ve got disguises, powders and potions for the complexion, lacquers and lotions quite a selection. That’s where you’ll find me. I’ll meet you there.

The CountI understand you.

FigaroNow we must hurry!


then I will make you pay and with a viper’s venomed fang,a hundred tricks I’ll play until I have my way, let him beware.

Recitative

RosinaOh yes, I’ll win the day, but first I must find a way to send this note to him. Who’ll take it? There is no one I trust here and my guardian haseyes in the back of his head. I might as well sendit. Perhaps Figaro would help, I saw him out there, he was chatting with Lindoro half the morning. Surely he’ll take the letter, he knowsmy situation and looking after lovers is his vocation!

Scene 6

FigaroGood morning, Signorina.

RosinaGood morning, Signor Figaro!

FigaroAnd tell me, how are you?

RosinaLife here’s so boring,

FigaroThat’s terrible, is it possible? A young lady sobeautiful and high-spirited…

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The CountYou’ll get what’s needed?

FigaroYou needn’t worry.

The CountYou will not fail me…

FigaroI’m here to serve you.

The CountGod bless you, Figaro…

FigaroMay heaven preserve you…

The CountI will be bringing…

FigaroPlenty of money!

The CountMoney to burn, but first you must earn it…

FigaroI can smell victory,all will be well.

The CountAh, how love’s fever sets my heart burning,tender and passionate, aching and yearning.Love never felt before rises within meand how it makes me more of a man.Fortune has smiled on me,made my dream a reality.

FigaroThink of the money I will be earning.Thanks to my talents I’m a rich man.Think of it! I’ll be a rich man, no longer poor!Unusual daring rises within me,ah, how it makes me more of a man.

Scene 5

(A four-doored room in Doctor Bartolo’s house, the windows with blinds as in Scene 1. A writing desk at the right. Rosina with a letter in her hand.)

Cavatina

RosinaIn my heart a gentle voice spoke of love at break of dayand my heart has made its choice, with Lindoro I want to stay.Yes, Lindoro shall be mine,I’m determined I’ll have my way.Though the doctor may intendto propose to me one day,I’ll defeat him in the end,leave his plans in disarray.I can be so demure,I can be charming,and quite respectful,sweet and disarming.Treat me with due respect, the least that I expect, and I’ll play fair.But if you cross my way

15

14

RosinaAh, don’t make me laugh.But what’s the use of being beautiful if no one ever sees me? I’m shackled to that fossilised crustacean, whose single aim in life is my incarceration.

FigaroIncarceration?… Oh, no!(taking her aside)Now listen, I want to…

(They hear footsteps.)

RosinaThere’s my guardian.

FigaroAre you certain?

RosinaYes, I’m certain, those are his footsteps.

FigaroThen I will hide, when the coast’s clear I’ll comeand find you. I’ve got something to tell you.

RosinaAnd so have I, Signor Figaro.

FigaroExcellent. I’m off.

(Figaro hides, but he can be seen peeping out fromtime to time.)


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RosinaWhere would I be without him?

Scene 7

(Bartolo and Rosina, later Berta and Ambrogio)

BartoloDamn that confounded Figaro!He’s always in the house, the man’s a menace!

RosinaHere we go, always grumbling.

BartoloWhat could he have been saying, and how longdid he stay here?I really must be tougher; that wretched barber,one day I’ll make him suffer!Signorina, where’s the barber? Have you seen him?

RosinaBut why?

BartoloBecause I wish to know.

RosinaPerhaps he gets on your nerves.

BartoloWhat if he does?

RosinaAlright then if you must know.Yes, I have seen him and we talked.

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I like him, he’s so lively,I find him funny and very sympathetic.(That should go down well, like an emetic!)

BartoloI simply can’t resist her.I love her, yet she does nothing but insult me.I feel certain that the barber puts her up to thismischief. I wonder what he told her. Who’d know?

Scene 8

(Bartolo, then Don Basilio)

BartoloOh! Don Basilio! Your timing is perfect.Oh, I tell you, by fair means or by foul,first thing tomorrow I marry my Rosina.You understand me?

BasilioI understand you perfectly.

BartoloGood!

BasilioWhat’s more, I’ve news which makes the matterurgent… but keep it quiet… he’s here!

BartoloWho?

BasilioCount Almaviva.

19

BartoloWhat? The one who’s been chasing after myRosina?

BasilioThat one precisely.

BartoloThat’s all I need!We must find a way to stop him!

BasilioCertainly but… very discreetly.

BartoloWhat do you mean?

BasilioWhat if we start a rumour… invent some misdemeanourfrom his past to discredit him, to ruin him, destroy his reputation, blacken his name so thoroughly that he’ll haveno option but to leave Seville for ever… and I’mthe man to do it:in less than four days, you mark my words, Basilio guarantees it, he’ll be hounded out of town, just you believe it.

BartoloYou really think so?

BasilioI know so! I have a system, and it’s fool proof.

BartoloBut that would be slander.

BasilioAh-ha, slander… if it gets what you want, wouldyou disdain it?

BartoloI don’t like it.

BasilioNo? Then listen. I’ll explain it.

Aria

BasilioInnuendo, the slightest whisper, mere suggestion, somewhat pervasive, something subtle and persuasive, plant it gently, oh, so gently, watch it grow and grow until it’s taken root. Keep it quiet, hardly breathe it, don’t confirm it, don’t conceal it. So a sly insinuation grows with each exaggeration,fan the flames and watch them flicker,first a nudge and then a wink and then a snickerall create the wrong impression’til our little indiscretion gets repeated and repeated and the mud begins to stick.What began diminuendogrows towards a great crescendo,fact is quickly lost in fiction,

20


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past all hope of contradiction.Soon the noise is loud as thunder,tearing all the town asunder,banging, crashing, booming, clashing, ’til complete confusion reigns.This volcano of corruptionoverflows in an eruptioncausing damage and corrosion!With the mightiest explosion,it’s as if the world is ending,or the wrath of God descending,storming, raging, never ending’til the world is upside down.Though the slander is unfounded,its poor victim is so hounded,ostracised, humiliated that he wishes he were dead.

Recitative

BasilioWell, what d’you think?

BartoloNo, I’d rather do it my way.I must marry her today.Come and help me prepare the marriagecontract this very minute. Once she and I aremarried, I’ll keep her from those fancyCasanovas that hang around here, they’ll gettheir come-uppance!

BasilioAs long as I’m paid,I couldn’t care tuppence!

21

Scene 9

(Figaro enters cautiously, then Rosina.)

FigaroSo that’s it!The old devils!Now I know ev’rything!Good luck to you old doctor.Don’t be so absurd!Her husband!Come off it!I’ll make you eat your words.Now that they’re in his study,I must break the happy news to Rosina.Ah, here she is.

RosinaWhat’s happened, Signor Figaro?

FigaroI’m not sure that you can take it…

RosinaWell, try me.

FigaroI can hear church bells ringing…

RosinaWhat on earth do you mean?

FigaroI mean to tell you that by this very evening yourdarling guardian has decided to become yourblushing bridegroom!

22

RosinaYou’re joking!

FigaroFor once I’m serious.He’s drawing up the contract with that slimyBasilio in there this very minute.

RosinaWhat, how stupid can he be? He must be crazy, he’ll have to deal with me. But tell me, Signor Figaro, a little while ago, there beneath my window, you were talking to astranger.

FigaroAh! That was my cousin, a fine upstanding fellow,quite intelligent and yet romantic.He’s come here to Seville as a student and thepoor boy hopes that he’ll make his fortune.

RosinaHis fortune?Oh, I’m sure he will!

FigaroOh, one can’t be too certain for, between youand me, he’s got a serious problem.

RosinaA serious problem?

FigaroOh, enormous!He’s head over heels in love.

RosinaOh, really. This poor young man, your cousin,perhaps I could be of help to him.

FigaroYou help him?

RosinaDon’t you believe me?

FigaroOh, yes!

RosinaAnd his beloved, tell me, is she far away?

FigaroNo, no! She’s here, I mean quite close.

RosinaIs she pretty?

FigaroOh, very pretty!How can I do justice to such beauty?She’s shapely, very witty with hair in ringlets,cheeks like summer roses, eyes full of laughterand the daintiest little fingers.

RosinaHer name is?

FigaroYou want her name too? Her name is… Ah, it’s so lovely. Her name is…


76 77

RosinaCome on. Her name is?…

FigaroPerhaps you’ve seen her, her name isR… o… Ro… s… i… si… Rosi… n… a…na… Rosina.

Duet

RosinaThen it’s me…You would not tease me?Then it’s me…He really loves me!But I had already guessed it,I had known it all along.

FigaroI assure you that Lindoro, he adores you, dear Rosina.What a cunning little schemer, but she’ll have to deal with me.

RosinaListen, listen…I can’t wait to see him, you must tell me how?

FigaroDon’t you worry, he’ll be here to see you anymoment now.

RosinaHere to see me?Oh, how lovely, does he know the situation?

23

I am dying of anticipation!What’s the cause of his delay?

FigaroHe is waiting for a signal,poor young man in such dejection. Send a token of affection and he’ll soon be on his way, send a letter, he’s on his way, just a letter and he’ll soon be on his way.What’s the matter?

RosinaI’m too shy…

FigaroNo, have courage.

RosinaDon’t know why…

FigaroJust a message.

RosinaI’m embarrassed…

FigaroThere’s no need, come on.Quickly, write the letter!

(She takes a letter from her pocket and gives it tohim.)

RosinaWrite a letter… Well, here it is.

Figaro (astonished)What… already written!What a woman,she’s no need of education!

RosinaI am filled with such elation,I begin to breathe again!

FigaroShe’s a source of inspirationwhen it comes to luring men!

RosinaLove’s my only consolation,love’s my only guiding star.

FigaroWomen are beyond me, fascinating and bizarre.

RosinaTell me, where’s Lindoro?

FigaroOn his way.He has told me he’ll be coming here today.

RosinaDoes he know the situation?

FigaroI have told him what to say!

Scene 10

(Rosina, then Bartolo)

Recititative

RosinaNow I feel so much better.That Figaro is full of good ideas.

Bartolo (entering)(Some sweet talk, that should do it.)My little dumpling, tell your dear old guardianwhat Figaro was doing here this morning.

RosinaFigaro?I know nothing.

BartoloBut you spoke?

RosinaYes, we spoke.

BartoloWhat did you speak of?

RosinaOh, this and that, things of no importance:What they are wearing in Paris,and the illness of his daughter Marcellina…

BartoloOh, really?And I would wager that he brought you ananswer to your letter!

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RosinaWhat letter?

BartoloOh, come now!The aria from ‘The Girl who Lov’d a Stranger’that you dropped ‘by mistake’ out of the window.Why are we blushing?I’ve caught her good and proper!If you haven’t been writing, please account forthat ink-stain.

RosinaInk-stain?That’s nothing!That’s where I burned my fingerand I put some ink on it.It’s getting better.

BartoloLudicrous. These sheets of paper… only five here.There were six.

RosinaThat paper?You’re right;I used one of them to wrap up some chocolatesfor Marcellina.

BartoloHow kind of you, but in that case this penwould not be inky.

RosinaDamnation!The pen… I used to draw a flower on my sewing!

BartoloA flower?

RosinaA flower!

BartoloA flower?Ah, you hussy!

RosinaI swear…

BartoloSilence!

RosinaBelieve me…

BartoloI’ve had enough!

RosinaSignore…

BartoloYou can’t deceive me.

Aria

BartoloDare you offer such excuses to an eminent physician?From a girl in your position I expected better lies,I expected something better.

25

Sending sweets to Marcellina?Sketching flowers to embroider?Burnt your finger?What nonsense!You must find a taller storyor I’ll cut you down to size.You must find me something taller.Where’s that missing sheet of paper?Don’t deny you wrote a letter,you should really know me better,don’t you think that you can charm me…hold your tongue, you can’t placate me.No, my dear girl, don’t underrate meor you’re in for a big surprise!Come, Rosina, don’t be stubborn,and I promise I won’t be vexed.Pretty villain, still so sullen?Then I know what I’ll do next.In the future when I leave youI will see that you are guarded,tell the servants you’re regardednow as under house arrest.Do not try to win me overwith your crying and your sighing.Now the penalty for lyingcould be more than you had guessed.For my innocent Rosina,now it’s solit’ry confinement…Yes, yes, ’til you show me some refinement,I will teach you who knows best.If you offer such excuses then you’re in for a big surprise.

COMPACT DISC TWO

Scene 13

(The Count dressed as a cavalryman, thenBartolo)

Finale I

The CountWhere’s the master?Where’s the mistress?No one’s here then?Hey!

Bartolo (entering)Who’s this fellow?Some kind of soldier?He’s been drinking!Why’s he here?

The CountWhere’s the landlord?Lousy service!Hey!

BartoloWhat d’you want?Hey, that’s my brandy!

The CountAh… At last!How nice to meet you!

BartoloWhat on earth is going on?

1


(She comes forward.)

The CountCome Rosina, my beloved,I must seek my darling out.(seeing Rosina)It’s Rosina, at last I’ve found her.

RosinaHe has seen me, he’s approaching!

The Count (softly to Rosina)I’m Lindoro.

RosinaI can’t believe it!Do be careful, now my heart is fill’d with fear!

Bartolo (seeing Rosina)Why, Rosina, are you staring?Can’t you see that we are busy?

RosinaYou’re the one whose eyes are glaring.

BartoloQuickly leave us, go get out of here!

The CountSignorina, I’ll come with you!

BartoloAnd where do you think you’re going?

The CountTo my bedroom…

BartoloTo your bedroom?…

The CountTo start unpacking.

BartoloTo your bedroom? Are you joking?

The CountDarling!

RosinaOh, heavens…

BartoloThis is outrageous.

The Count(to Bartolo, as the Count starts towards the innerrooms)Let’s get going…

BartoloOh no, Signore, there’s no bedroom for you here.

The CountWhy not?

BartoloBecause I’m telling you!I’ve a warrant of exemption.

The CountAn exemption?

BartoloWait a minute and I’ll show you, it’s in here.

80 81

The CountJust a moment.I’ve got the name here.You must be this Doctor Barnado?

BartoloNot Barnado!

The CountAh, Bastardo.

BartoloI most certainly am not, Sir!Try to get it right, young man!Doctor Bartolo!

The CountAh, I’ve got it now: Doctor Bungalow.

BartoloHe’s plastered!

The CountMakes no difference whatsoever.

BartoloI am quickly losing patience.I must try to keep my head!

The CountWhere’s my darling?I must find her!What’s she doing… Still in bed?So, Signore… You are a doctor?

BartoloThat’s correct, Sir… I’m a doctor!

The CountAh! Coincidence!Let me kiss you!We are colleagues!

BartoloGet off me!

The Count (He roughly embraces Bartolo.)Come!… I’m a doctor in the forces,and I specialise in horses!(showing him his paper)And my billet is in your house,here’s the order see for yourself!Ah! How long ’til I behold her?

BartoloThis is more than I can tolerate,what is it all about?

The CountAh! When will my arms enfold her?

BartoloOh, I simply can’t communicate,I’ll have to throw him out, that’s enough!

Scene 14

(Rosina, and the others)

RosinaWho’s this soldier…(She stops, looking at Bartolo.)with my guardian?What can this be all about?

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82 83

(He goes to the writing table.)

The Count (to Rosina)Just in case I cannot stay here,take this letter…

RosinaLook out, he’ll catch us.

Bartolo (searching the writing-table)Where on earth can I have put it?

RosinaBe careful!…

BartoloDamn the thing, I’m sure it’s here.

RosinaWe must pray he doesn’t find it or he’ll throw you out, I fear.

The CountWe must pray he doesn’t find it or the game is up, I fear.

Bartolo (coming forward)Ah! Here it is!(He reads.)This is to certify Dr Bartolois hereby exempted from…

The Count (throwing the parchment in the air)So much for your document!It’s invalidfrom today.

BartoloWhat the hell d’you think you’re doing?

The CountCan’t you hear me, Doctor. Deafness?In this house I have been quartered,in this house I mean to stay!

BartoloIs that so?…

The CountIt is indeed, Sir!

BartoloYou may think you’re very dashing,but I’m sure a damn good thrashingwill soon send you on your way.You had better heed my warning.

The CountSo you’re serious?You want to fight me?Fine! I’m ready for a fight!I love fighting, but we must plan it,let’s be sure to get it right!(amiably approaching Bartolo)Pay attention, here’s the ramparts,you’re my enemy in battle.(giving Bartolo a push)On your guard!And my allies…(quietly to Rosina as he goes near and shows her theletter)

The CountSo you’ll fight me?On your guard!Hey!

RosinaPlease, don’t get in such a temper.I had dropp’d it in my hurry.It’s the laundry list, don’t worry.

Bartolo (tearing the paper out of her hand)You are lying, hand it over, give it here!Combinations!

BertaHere they are, Sir… combinations!

BartoloShe was not lying!It’s the laundry!How amazing!

The Count and RosinaNow his mind is really racing,we have caught him in our trap.

BertaI’m quite baffled, it’s amazing.why are they in such a flap?

BasilioSo so so doh re mi fa re so mi la fa ti so doh,Why are they in such a flap.

BartoloAh, my mind is really racing.They have caught me in their trap!

Now drop your handkerchief!(He seizes the moment when Bartolo’s attention isdistracted and drops his letter. Rosina drops herhandkerchief over it.)And my allies, they are here.On your guard.

BartoloJust one moment!…

The CountWhat is it?…

(Turning, he pretends he has just seen the letterand picks it up.)

BartoloWhat’s that paper?

The CountOh, it’s only a prescription!No! It’s a letter… you must have dropped it,since it seems to be for you.

(He bows before Rosina and gives her the letter andthe handkerchief.)

RosinaThank you!

(She exchanges the letter for another piece of paper.)

BartoloThank you!Hand it over.I can see what you are up to, did you hear me, give it here!


84 85

RosinaAll my life…the same old story,always scolded and suspected, kept in prison and neglected, I can’t bear it any more.

Bartolo (approaching her)Poor Rosina…

The Count (threatening Bartolo and grabbing herarm)Get away, you have upset her…

BartoloThis is your fault… you must forget her…

The CountAh, you traitor, I will teach you…

(drawing his sword )

Rosina (restraining the Count)Don’t be violent, we beseech you!

Berta, Bartolo and BasilioDon’t be violent, we beseech you!

The CountYou’re about to meet your fate!Let go of me!

Rosina, Berta, Bartolo and BasilioSomeone help us, he will murder him…Quick before it is too late!

Scene 15

FigaroStop this noise!What’s going on here?Why all this bawling?Have you gone crazy?This is appalling!People are wond’ringwhat all the trouble is.There is confusion all over town.Signor, be careful. You must calm down.

BartoloCocky young upstart!

(pointing to the Count)

The Count (pointing to Bartolo)Bloated old lecher!

BartoloI’ll knock your block off.

The CountI’ll smash your face in!

(raising the basin as if threatening)

FigaroNow, Mister Soldier, don’t be so headstrong,if you don’t stop this I’ll have to knock you out,if you don’t heed me I’ll knock you down.

The Count (to Bartolo)Ugly old fogey!

3

BartoloImpudent ruffian!

Rosina, Berta and Figaro.Doctor, be quiet.

BartoloI won’t be quiet!

Rosina, Berta and FigaroDon’t be so violent.

The CountI’ll start a riot.

Rosina, Berta, Figaro and BasilioPeople will hear you all over town.

The CountNow I will murder him,I’ll knock him down!

Rosina, Berta and FigaroSomeone is at the door.

Rosina, Berta, the Count, Figaro, Bartolo andBasilioWho can it be?

BartoloWho’s there?

Chorus (offstage)The army, so let us in.

Rosina, Berta, the Count, Figaro, Bartolo andBasilioThe army! How terrible!…

4

Figaro and BasilioNow you have done it!

The Count and BartoloNo need to worry, let them come in!

Bartolo, Basilio, Rosina, the Count andBertaWhat a disaster.How will it end?

Last Scene

ChorusPay attention! What’s the trouble?Who’s the culprit? No one move!Who has started this disturbance?What can anybody prove?Why this noise?

BartoloThis young blackguard has abused me,he has set on me and bruised me,yes indeed.

FigaroI was passing by this wayand found the place in disarray,yes indeed.

Basilio and BertaAll this couldn’t be absurder,he was threatening to murder,yes indeed.

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The CountThis is where I had my billetbut this fool won’t let me stay,yes indeed.

RosinaYou can blame the situationon this man’s inebreation,yes indeed.

OfficerIt’s clear now.Come along…I must arrest you…Off to prison…(The soldiers move to surround the Count.)Off we go!

The CountMe arrested? Really? Not so fast!

(With a commanding gesture, he makes the soldiers stand back. He takes the Officer aside and shows him a paper. The Officer reads it, showing surprise.He orders the soldiers to move back. All stand frozen in amazement.)

Rosina, the Count, Bartolo and BasilioFrozen and motionlessjust like a monument,I’m rooted to the spotand don’t dare breathe!

FigaroLook at Don Bartolo!

6

Doesn’t know what to think.Ah, how hysterical, I cannot breathe!

The CountWide-eyed with wonderment,frozen and petrified,they’re rooted to the spot,I cannot breathe.

Stretta

Bartolo (to the Officer)If I may…Let me say…I protest…I request…

Bartolo, Berta and BasilioBut if we…But if he…But if she…Don’t you see… ?

ChorusNo, you can’t, No, you shan’t,What about?…Don’t you shout!If you what?He did not.If she what?We do not!You may go about your business,we declare this matter closed.

7

Berta and RosinaWe agree.So we see we are free.

The Count, Figaro and BasilioThat suits me.So we see we are free.

BartoloLet me tell you,you must listen!

Rosina, Berta, the Count, Figaro, Bartolo,Basilio and ChorusIn my head a blacksmith’s hammerbeats and pounds upon its anvil.Raising such a piercing clamour,rising, falling, quite appalling,loud enough to wake the dead.Now it’s banging, now it’s crashing,like two mighty armies clashing,it’s as if the world were ending,Armageddon in my head.Pounding, beating, still repeating,now advancing, now retreating,my poor brain is overheating,it’s enough to drive you mad.

Act II

Scene 1

(A room in Bartolo’s house, with a seat and apianoforte on which lie pieces of music)

Recitative

BartoloI’ve got to find the answer!My enquiries about that drunken soldier allcame to nothing…As no one seems to know him.I wonder…Oh, I’ve got it, I think he’s spying for the CountAlmaviva, who sent him here to sound out myRosina, to see it she could be his latest conquest.A man cannot feel safe not even in his own house.But if I…(a knock on the door)Who’s knocking?Hey, who’s there?Berta, have you gone deaf? No need to fear:Let them all in, Doctor Bartolo is here.

Scene 2

Duet

The CountPeace and joy be yours for ever.Joy and peace and ev’ry blessing.Peace and joy be yours forever.Joy and peace and ev’ry blessing.All my plans went wrong this morningbut I’ll still avoid detection,As a loony music teacherI will trick him yet again.Ah yes, I’ll trick him yet again.Live in peace and live contented.

9

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Once again I have deceived himWhat a feeling of elation!Ah, my love, your music master soon will carry you away!He will carry you away.Ah, your music master soon will take you,I have come, I will carry you away.

BartoloThank you kindly, much obliged to you.Very gracious, if I may say.Thank you kindly, pray don’t mention it.Absolutely, just as you say.In my mind the thought is dawningI’ve a hazy recollection,I am sure I’ve met this creaturebut I don’t know where or when.Yes, I heard you (the man’s demented).Can you stop it? What a bore!Have you finished?It’s never-ending!Joy and peace and …Peace and joy and…Stop it! What a bore!All my visitors are frightful!What a trial and tribulation!It’s a chapter of disaster,this is not my lucky day!

Recitative

BartoloI don’t think we have met, Sir,who are you? And keep it short.

10

The CountDon Alonso, a professor of singingand a pupil of Don Basilio.

BartoloContinue…

The CountDon Basilio has taken to his bed.I’ve come instead of him.

BartoloHe’s ill? I’ll go and see him.

(starting to go)

The CountThere is no need to, he is not feeling that bad.

BartoloThis is rather suspicious.I’m going, come with me.

The Count (decisively)Wait a minute…

BartoloWhat’s that?

The Count (in a low voice, drawing Bartolo aside)Something to tell you…

BartoloSpeak a bit louder.

The CountWhat?

BartoloLouder!Speak up, man!

The Count (also angrily, raising his voice)All right!Just as you please, but it’s clear you have nonotion with whom you’re dealing.I have come from Almaviva…

Bartolo (more persuasive, holding him back)Keep your voice down.Go on tell me, I’m list’ning…

The CountHis Lordship…

BartoloPlease, not quite so loud.

The Count (calming down)I’m lodging in the same place as he is,and this morning, guess what happened?(showing a letter)I found this letter, it fell into my hands…It’s from Rosina to the Count Almaviva.Look at the writing.

Bartolo (taking the letter and looking at it)Good heavens! From Rosina.

The CountDon Basilio knows nothing of the letter,and I just thought I’d come to give a lesson toRosina,

and by doing so I might do you a favour…(with feigned embarrassment, as if to justify himself)because… using the letter… I could try to…

BartoloTry what?…

The CountI’ll explain… It would be to your advantage.If I could see her…

BartoloI’m not sure about that young man.

The CountI’d tell her how I got it from a woman who’sknown to be a mistress of Almaviva.Thus I could prove to her that his intentions areunworthy and dishonest and in this way…

BartoloJust one moment, you mean a slander!Oh, bravo!(He embraces the Count and puts the letter in hispocket.)You are a worthy pupil of Don Basilio!Such a delightful conspiracy is just the joband you’ll be well rewarded.I’ll go and call my Rosina.This is more than I’d hoped for.I’m very grateful, you’ve done me such a favour.

The CountThank you, don’t mention it!(Bartolo enters Rosina’s room.)


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That business of the letter was a slip of the tongue,quite unwitting, what could I do?I had to say something to avoid being exposed asan impostor.I’ve got to take my chance,now I must tell her all.Will she accept me?It’s time to take a sounding.Here she comes at last…Ah! How my heart is pounding!

Scene 3

(Bartolo bringing Rosina; the Count)

BartoloCome along, my dear, and listen:this young man has come here to teach you.His name is Don Alonso.

Rosina (seeing the Count)Ah!

BartoloWhat’s the matter?…

RosinaSudden cramp in my ankle.

The CountAllow me… sit down beside me here, my dearyoung lady; if you don’t mind, I’ve come to takeyour lesson instead of Don Basilio who is sick.

RosinaAh, that will be a pleasure, shall we begin?

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The CountWhat will you sing for us?

RosinaI’ll sing you my new aria: it’s the one from‘The Girl who lov’d a Stranger’…

BartoloThat title begins to haunt me,‘The Girl who lov’d a Stranger’.

RosinaI thought I’d told you:it’s all the rage, this new Rossini opera.

BartoloIt may be, but I think it’s frightful!

RosinaAh, here it is.

The CountLet’s see now… It looks delightful.

(He sits at the pianoforte; Rosina sings to hisaccompaniment. Bartolo sits and listens.)

Aria

RosinaWhen a heart for love is yearningits most passionate flame is burning.Though the tyrant tries to thwart ithe will find there’s nought to gain.Love will always be the victor,cruel persecution attacks in vain.(Bartolo dozes off.)

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Ah, Lindoro, my beloved,if you knew how he abused me…He’s like Cereberus the watchdog,he will drive me mad, I know!You must save me from his clutches,where you lead me I will go.

The CountDo not fear, I will be with you,we shall witness his overthrow.

RosinaYou will save me…?

The CountYou have my promise…

RosinaAnd our love?…

The CountWill grow and grow!

(Bartolo wakes up.)

RosinaDearest of all beguiling visions,sweetest image of love’s desire.When you’re smiling your love inspires me,you bring joy into my heart.

(Bartolo dozes off again.)

The CountHave no fear.I will be with you,we shall witness his overthrow.

RosinaYou will save me…?

The CountYou have my promise.

RosinaAnd our love…

The Count… will grow and grow!

RosinaYou must save me from his clutches,you have given me new hope.

Recitative

The CountWhat a talent. Bravissima!

RosinaOh, thank you, thank you…

BartoloI grant you she has talent,but that blasted modern music is so discordant.In my days things were different,opera was opera and men were sopranos.I remember Caffariello.He sang a lovely aria: la la la la la…Now that’s what I call music.Listen to this!

(interrupting himself )

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Arietta

BartoloSweet little seventeena,adorable Rosina…(with a gesture toward Rosina)I know it says Giannina,but I always sing Rosina…Her smile is so entrancing,one look and I am dancing…

(He dances. Figaro has entered and now comesbehind Bartolo and imitates him. Figaro has hisbasin with him.)

Recitative

BartoloBravo, Signor Figaro, oh, bravo.

FigaroOh, it was nothing. Sorry, I couldn’t help it.

BartoloAll right, just tell me why you’re here?

FigaroOh, really, I have come here to shave you.Today is your day.

BartoloToday, impossible.

Figaro ( putting the basin on the table and takingout a memorandum book)Today impossible, tomorow impossible for me.

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Because I’m fully booked.I’m trimming beards and whiskers for all thesenior officers of the new regiment.Then there’s Countess Andronica who wantssome chestnut tinting in her blond wig…On to old Count Bombé who wears his quiff inringlets…Then I must take a laxative to the lawyerBernardone who has a stubborn case ofconstipation…And then… it’s endless… why bother?( putting the book back in his pocket)I can’t fit you in.

BartoloAll right, let’s not discuss it:today I don’t want shaving.

FigaroNo? Damnation!Who do you think I am?I come this morning and the house ispandemonium, and now you try to tell me:‘Today, impossible’. I am simply not preparedto be messed about by you like a servant.You’ll find another barber.(He picks up the basin as if preparing to leave.)Me, I’m going home.

BartoloAll right then, have it your own way.Oh, what a prima donna!Go and fetch me a towel, they’re in the cupboard.

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(He takes a bunch of keys from his belt, gives themto Figaro, then takes them back.)No, I’ll go myself.

(He goes in.)

FigaroAh, if I could get my hands on that wretchedbunch of keys we’d be home and dry.(to Rosina, with emphasis)Tell me, is one of those the key which wouldopen the window?

RosinaThat’s right, it’s the shiny new one.

Bartolo (returning)No, it’s too risky leaving her alone here with thatdevil of a barber!(He gives the keys to Figaro.)You can fetch what’s needed. Go down there tomy room, open the cupboard you’ll find freshlinen. Careful, don’t you go snooping!

FigaroMe!I’m not nosey! (Terrific!)Back in a moment.(Now things look quite rosy!)

Bartolo (to the Count)He’s the one – the one who delivered the letter,Rosina’s private postman.

The CountI wouldn’t trust him further than I could throw him.

BartoloWell… he’s met his match in me!(a loud crash of breaking dishes)Ah, now what’s he done?

RosinaIs something broken?

BartoloThe clumsy oaf!I knew I couldn’t trust him.

(He goes out.)

The Count (to Rosina)What would we do without him?Now that we’re alone, answer me,my darling, are you willing to share my futureand take me as your husband?Be honest!…

Rosina (with enthusiasm)Ah, my Lindoro,you are all I long for!

(She composes herself as Bartolo and Figaro return.)

The CountWhat’s happened?

BartoloEverything’s broken!Six vases, eight crystal glasses, the soup tureen…

Figaro (He shows the Count the key to the balconywhich he has taken from the ring.)It could have been much worse!


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But I was lucky…I couldn’t see a thing in that damn passage.If I had not held onto this precious keyI’d have fallen with the contents of the cupboardon my head.Why must you live in darkness?And then, and then?

BartoloThat will do!

Figaro (to the Count and Rosina)Let’s get on.(Be careful.)

Bartolo (He sits down to be shaved. At thismoment Basilio enters.)I’m ready.

Scene 4

(Don Basilio and the others)

Quintet

RosinaDon Basilio…

The CountThis means trouble.

FigaroNow we’re for it…

BartoloAren’t you ill?

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BasilioPeace and joy be yours forever.

BartoloBut I thought he was in bed.

RosinaMy heart is filled with dread.

The CountNow’s the time to use your head.

FigaroNow’s the time to use your head.

Bartolo (astonished)Don Basilio, you’ve recovered?

BasilioWhat do you mean?

Figaro (interrupting)No time for talking.Do you still want me to shave you,make your mind up, yes or no?

Bartolo (to Figaro)Wait a moment.(to Basilio)Eh…Your assistant…

Basilio (astonished)My assistant?

The Count (to Bartolo)I told the Doctor that the whole affair was settled,did I not?

BartoloYes, that is so.

BasilioBut Don Bartolo, enlighten me…

The Count (to Bartolo, interrupting)I must tell you something quickly.(to Basilio)Don Basilio I’ll be with you.Let me whisper in your ear!You must tell him he should leave us,it would really be much better.

RosinaI am trembling with fear.

Figaro (softly to Rosina)I’ll look after you, my dear!

The CountHe knows nothing of the letteror the reason I am here.

BasilioSomething strange is going on here,what it is I’ve no idea.

Bartolo (softly to the Count)You are right, it would be better,we must get him out of here.

The CountWith a fever, Don Basilio,(Figaro listens carefully, ready to back up theCount’s story.)

was it wise to leave your bed when you’re sopoorly?

Basilio (astonished)With a fever?

The CountYou’ve surely noticed?You are yellow, could be fatal.

BasilioI am yellow?Could be fatal.

Figaro (feeling his pulse)This is serious…Things look bad…You are delirious…Heartbeat pounding,face is red, Sir,it’s astounding,you’re not dead, Sir.This is clearly scarlet fever!

BasilioScarlet fever!

The Count (The Count slips a purse to Basilio.)You must linger here no longer.This will help you feel much stronger,take it with you home to bed.

FigaroOff you go and put your feet up.


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The CountDim the lights and turn the heat up.

RosinaInto bed and pull the sheet up.

BartoloQuickly, quickly home to bed.

Rosina, the Count, Figaro and BartoloQuickly, quickly home to bed.

Basilio (astonished)Here’s some money?…To put my feet up…Are they all, can they be all in this together?

Rosina, the Count, Figaro and BartoloOff to bed and put your feet up.

BasilioI am not deaf yet,I am going,I will do what you suggest.

FigaroYou look yellow!

The CountYou look so awful…

BasilioDo I really?

The Count, Figaro and BartoloYes, really dreadful!

BasilioThen I’m going!

Rosina, the Count, Figaro and BartoloGo then.

The Count and RosinaBuona sera, Don Basilio.

FigaroBuona sera, Don Basilio. Off you go and get well soon.

BasilioBuona sera, I’ll go home now and come back this afternoon.

Rosina, the Count and FigaroHe’s completely dessicated and decrepit.Off you go now, Don Basilio, you must do what we have said.Quickly, quickly home to bed.

BartoloOff you go now.

BasilioYes I heard you.Thank you, I’ll go home now and come back this afternoon. They have trapped the Doctor neatly.Yes, I heard, no need to shout, I am going home to bed.

FigaroNow then, Signor Don Bartolo.17

BartoloAll right.(Bartolo sits down. Figaro ties a towel around hisneck and gets ready to shave him, meanwhilescreening the two lovers.)Tighter!That’s excellent.

The CountRosina!Here, listen carefully.

RosinaI’m listening, whisper, I’m here.

(They sit down, pretending to study the music.)

The Count (to Rosina, cautiously)This key is all we neded,our plan is going nicely.At twelve o’clock precisely,I’ll come to set you free.

Figaro (keeping Bartolo’s attention)Ahi! Ahi!

BartoloWhat is the matter?…

FigaroIt is my eye,I think there’s something in it.D’you see it?…No, don’t touch it!Try blowing, try blowing it instead.

RosinaAt twelve o’clock precisely I will be ready, waiting.Soon we’ll be celebratingbecause I shall be free.

The CountDarling, I think I’d better(Bartolo gets up and goes toward the lovers.)warn you about your letter,I showed it to Don Bartoloso my disguise would fool him.

BartoloSo my disguise would fool him?Ah! Ah!Caught you, the pair of you!Don Alonso, bravo, bravi…Peace and joy…You swindlers!De-frauders!Deceivers!Marauders!You liars,you think you can beat me,you think you can cheat me,deceive and mistreat meuntil I give in.With all your surprisesand clever disguises,of all shapes and sizes,I’ll do you all in.


then Rosina loves a stranger,young and old are both in danger,love has made them lose their heads.But what is this strange conditionthat has made them all go mad?Love’s a grave indisposition,its effects are always bad.It’s a universal sickness,it’s an itch without a lotion,a disease beyond all potion…Even I know love’s emotion,for some mem’ries never fade.How I envy all young lovers,spinsterhood is so depressingOh, my fate is too distressing,I must die a sad old maid.

(She goes out.)

Scene 7

(Don Bartolo brings in Don Basilio.)

Recitative

BartoloSo this pupil Alonso, you’re sure you’ve nevermet him.

BasilioQuite sure.

BartoloSo that’s it. The Count must have sent him,they must be planning something between them.

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BasilioI am sure that fellow Alonso was the Counthimself in person.

BartoloThe Count!

BasilioThe Count. That bribe came from a rich man.

BartoloBe that as it may… Right now we need the lawyer,I’ll go to him this minute, that contract ofmarriage must be ready this evening.

BasilioThe lawyer? Are you mad? It’s raining buckets,besides, he is busy this evening, he’s been bookedby our friend Figaro. The barber is marrying offhis niece.

BartoloMarrying off his niece. What rubbish!… Thatdamned barber hasn’t got a niece! There’ssomething very wrong here. Those two villainsmust be plotting something new for tonight.Quickly, fetch the lawyer, we mustn’t lose amoment.(giving him a key)Wait! Here’s the key to get back in with: if you’requick, we might just foil their tricks.

(He goes.)

BasilioDon’t you worry, I’ll be back in two ticks.

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Rosina, the Count and FigaroDon’t get in a temper,be quiet, dear Doctor,don’t make such a din.

BartoloGet out of my sight,or I’ll make you regret it.

Rosina, the Count and FigaroOh, stop it, do try to forget it.Be quiet, dear Doctor, don’t make such a din.He’s ranting and raving,he won’t even listen to what we have said.It’s perfectly clear that he’s gone off his head.We’ve had quite enoughand we wish he’d drop dead.

BartoloGet out of my sight,or I’ll make you regret it.I’m bursting with rage and I’m bursting with fury,it’s perfectly clear that you wish I’d drop dead.You’ve driven me crazy and made me see red.

Scene 5

(Bartolo, then Berta and Ambrogio)

Recitative

BartoloThings can’t get much worse.But how…?I never suspected a thing!

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(after thinking it over)Ah! Don Basilio knows more than he has told me.Hey! Do you hear? Are you there?(Ambrogio and Berta enter from opposite sides.)Ah, Berta, now listen: quick, take a messageround to Don Basilio! Tell him I’ve got to seehim and it’s extremely urgent… There are thingsI must ask him. He’ll have to come herebecasue… because I have confidential reasons. Go quickly now.(Ambrogio goes.)(to Berta)And Berta… stay there and guard the door, andthen… oh no… (I just can’t trust her) I’ll do thejob myself!

Scene 6

(Berta alone)

BertaHe wouldn’t trust his mother!Go yourself then,I’ll be glad to see the back of you!Will there ever be a moment’s peace in this house?They’re quarelling or weeping, always something.No, there’s no rest for the wickedwith that old fossil causing such disruption,what a household, all confusion and corruption.

Aria

BertaFirst the Doctor wants to marry,

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Scene 8

(Bartolo, then Rosina)

BartoloBy force or persuasion, Rosina has to marry me.Good heavens!… I’ve just had an idea.(He takes from his pocket the letter given to him bythe Count.)Here is the letter, the one Rosina wrote toAlmaviva: it might just work. A brilliantinspiration! Don Alonso, you villain, you haveunwittingly pass’d me the perfect weapon.(Rosina comes out of her room without speaking.)Hey! Rosina! Rosina, come here, child, amoment. I have some news about your lover.Poor innocent young creature! The sad fact is…It’s clear he’s been trifling with your affections…He finds your love amusing, something to laughat when with another mistress: this serves toprove it.

(He gives the letter to Rosina.)

RosinaMy letter! Who gave you that?

BartoloDon Alonso: he and the barber are planning toabduct you, don’t let them do it. They’re hopingto sell you to another; to the Count Almaviva.

RosinaCount Almaviva! I can’t believe it. Oh, Lindoro!How you’ve betrayed me! I’ll get my own back!

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I’ll show you! I’ll show you just what I am madeof. Tell me, Signor, do you still wish that youand I should marry?

BartoloNeed you ask me?

RosinaAll right, let’s do it. I’m yours… I accept you!But we should hurry… At midnight that rogueLindoro will be here to fetch me with hisaccomplice Figaro… I promised I would runaway and we’d be married…

BartoloOh, we must stop them! I’ll go and bar the door…

RosinaThat will be useless! They’re coming through thewindow.

BartoloWhat?

RosinaThey have the key.

BartoloThen I won’t budge from here!Wait! They might be carrying weapons… Now,my dearest, since you’ve so sweetly put me in thepicture, here’s what we’ll do. Lock yourself inyour bedroom while I call out the soldiers: I’llsay that we have burglars… They’ll be arrested…We’ll have the last laugh. This should beentertaining! Now child, go to your room. I’ll beback directly.

RosinaWhy does misfortune always seem to find me.

(She goes.)

Thunderstorm

(Through the windows frequent flashes of lightningare seen, and the sound of thunder is heard. Afterthe music Figaro and the Count appear, bothwrapped in wet cloaks. Figaro is carrying alantern.)

Scene 9

(The Count and Figaro, later Rosina)

Recitative

FigaroWe’ve made it, so far so good.

The CountFigaro, lend a hand.This wretched weather could not be lessromantic!

FigaroLovers don’t mind the weather!…

The CountEhi… Shine the light here.(Figaro makes a light.)Where will we find Rosina?

(looking around )

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FigaroShe must be hiding…(Rosina enters.)Ah, here she is.

The Count (ecstatically)At last, my angel!

Rosina (pushing him away)Don’t touch me,you treacherous deceiver!I’ve come here to tell you just what I think ofyour behaviour and the way you have betray’d me.I’ll show you what I am made of and what kindof woman you’re losing.How could you do it?Curses upon you!

The CountI don’t believe this!

FigaroI don’t believe it either.

The CountFor pity’s sake!

RosinaSilence!You have been ordered to come here and abductme for your lecherous master Almaviva…

The CountAlmaviva!I see what’s happened!Ah, you poor darling…


The CountAre you certain?

FigaroYes, Signor.

The CountIs it two men?…

FigaroYes, Signor.

The CountAnd with a lantern?

FigaroIn the doorway, yes, Signor…

Rosina, the Count and FigaroWhat to do?

The CountQuickly, quickly, softly, softly down the ladder, hurry, hurry!If we’re quick no need to worry,we can safely slip away!

The Count, Rosina and FigaroQuickly, quickly, softly, softly down the ladder, hurry, hurry!If we’re quick no need to worry,we can safely slip away!Through the window, down the ladder,we can safely slip away!

(They go to leave by the window.)

Recitative

FigaroAh! That’s all we needed!What can we do?

The CountWhatever’s happened?

FigaroThe ladder!

The CountWell what?…

FigaroThe ladder has vanished.

The CountYou mean it?

FigaroI mean it, someone’s taken it…

The CountWe are stranded, what now?…

RosinaI’m so unlucky!

FigaroBe quiet!Someone’s coming!We’re caught red handed.Think of something,they’re getting near.

(He wraps himself in his cloak.)

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Look at me dear Rosina:there is no Lindoro, I’m Almaviva.

Trio

RosinaAlmaviva, not Lindoro!I’m astounded! Ah, heav’ns! Salvation!In my fondest imaginationI could never believe this true.

FigaroThey will see when they recoverit was all my inspiration,with a little motivationthere is nothing I can’t do!

The CountAh, Rosina!What a triumph to discoversuch ecstatic, unknown elation!Ah, I feel such exhilaration.I could never believe this true!

RosinaBut Signor…How should I address you?

The CountAh, my love, do not let my name distress you!If you take me as your husband,that’s the only name I need!

RosinaWhat? The Countess Almaviva!This is happiness indeed!

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The CountAre you happy?

RosinaAh, never happier.Now forever we’ll stay united,for such payment for such desiring.Ah, to find my love’s requitedis a joy beyond compare.

The CountLet’s go now. Now forever we’ll stay united,Sweet repayment for such desire.Ah, to find my love’s requitedis a joy beyond compare.

FigaroHurry. Let’s go now!‘Ever!’ Hurry, let’s go now!‘Payment!’ Let’s get going.Hurry, hurry! Quickly, quickly!Let’s get going.There’ll be time for all that later,hurry up, I’m getting scared!Come along, come along, come along,I’m getting scared!I’m afraid we’ll be discovered,get a move on, do take care.Yes, yes! Get a move on.Ah! Disaster!I knew it!In the doorway there is a lantern!There are two men, what to do?

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FigaroI love a happy ending, our plans have all succeeded.This lantern then is needed to light their way no more.

Berta, Bartolo, Basilio and ChorusAnd may the happy couple be bless’d for evermore.

RosinaSo ends my lonely sadnessin unexpected laughter,you’ll be forever afterthe one that I adore.

The CountLindoro loves Rosinaand so does Almaviva,my heart is in a feverI’ve never known before.

English translation © Amanda and Anthony Holden

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The CountMy Rosina, be brave.

(They go to the side.)

FigaroLook out, they’re here.

Scene 10

(Don Basilio enters with a lantern. With him is anotary with a document in his hand.)

Basilio (at the opposite side, whispering)Don Bartolo, Don Bartolo…

Figaro (to the Count)Don Basilio.

The CountWho’s with him?

Figaro (Basilio and the notary stop in surprise. Thenotary goes toward Figaro.)Well, well, my good friend the lawyer…Couldn’t be better…You leave it all to me!How good to see you;you remember the appointment that we madefor this evening to perform the marriage ofCount Almaviva to my niece?…The couple happen to be here.I hope you’ve brought the contract with you?…(The notary shows the document.)That’s excellent!

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BasilioOne moment, Don Bartolo’s not here?…

The Count (Drawing a ring from his finger, hecalls Basilio aside, signalling to him to be quiet.)Hey! Don Basilio, take this ring and keep yourmouth shut.

BasilioBut this is…

The Count (drawing a pistol)You’d better, or you will get a bullet between theeyes. Which would you rather?

Basilio (taking the ring)I’ll take the ring, where are the signatories?

The Count (signing)All of us here:You are a witness,Figaro can be the other.Now we are married.

(As the Count is kissing Rosina’s hand, and asFigaro is grotesquely embracing Basilio, Bartoloenters with the officer and the soldiers.)

FigaroEviva!

The CountYou’re mine forever!

RosinaI’ve never been so happy!Yes, I am yours!

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Figaro and BasilioEviva!

Last Scene

(Don Bartolo, an Officer, soldiers and the others)

BartoloDon’t move a muscle! Look, there they are!

(He points out Figaro and the Count to the Officerand the soldiers and hurls himself at Figaro.)

FigaroTake it easy, Signor.

BartoloThose two, they’re robbers.Arrest them!

OfficerFirst things first… Sir, your name?

The CountCount Almaviva in person.

Finaletto II

(Figaro, Berta, Bartolo, Basilio, Rosina, the Count,Chorus)

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Staff Director: Henry B. Little

Producer Brian CouzensSound engineer Ralph CouzensAssistant engineer Richard SmokerEditor Peter NewbleRecording venue Goldsmiths College, London; 9–14 August 1994Front cover Montage of photograph of Bruce Ford by Winnie Klatz and photograph of Lillieand Barbed Wire © Photonica by Rieder Walsh Back cover Photograph of Gabriele BelliniDesign Cass CassidyBooklet typeset by Dave PartridgePublisher G. Ricordi & C SpA, Milan

1995 Chandos Records Ltd2000 Chandos Records Ltd

Chandos Records Ltd, Colchester, Essex, EnglandPrinted in the EU

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CHANDOS RECORDS LTD p 1995 Chandos Records Ltd c 2000 Chandos Records LtdColchester . Essex . England Printed in the EU

Gioachino Rossini (1792–1868)

The Barber of SevilleAn opera in two acts

Critical edition by Alberto Zedda

Libretto by Cesare Sterbini after the play Le Barbier de Sévilleby Beaumarchais

English translation by Amanda and Anthony Holden

Count Almaviva ......................................................Bruce Ford tenorBartolo, a doctor in Seville ............................Andrew Shore baritoneRosina, ward of Doctor Bartolo ................Della Jones mezzo-sopranoFigaro, a barber ....................................................Alan Opie baritoneDon Basilio, music teacher and hypocrite ..................Peter Rose bassFiorello, Count Almaviva’s servant......................Peter Snipp baritoneBerta, Bartolo’s housekeeper..................Jennifer Rhys-Davies sopranoAn Officer........................................................Christopher Ross bass

English National Opera Orchestra and ChorusGabriele Bellini

COMPACT DISC ONEAct I (beginning)

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COMPACT DISC TWOActs I (conclusion) and II

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Documents

The Barber of Seville