CALENDAR

Select Icon
VIEW COMPLETE CALENDAR

GIOACHINO ROSSINI, IL BARBIERE DI SIVIGLIA



Venice: La Fenice Opera House

Conductor: Stefano Montanari

Director: Bepi Morassi

Sets & Costumes: Lauro Crisman

Light Designer: Vilmo Furian

running time: 2h55'
Act 1: 1h40'
interval: 0h25'
Act 2: 0h50'

Dates and times

Day

Date

Time

Description

Sale

sat

2018-02-03

19:00

---

Buy Ticket

tue

2018-02-06

19:00

---

Buy Ticket

wed

2018-02-07

19:00

---

Buy Ticket

fri

2018-02-09

19:00

---

Buy Ticket

sun

2018-02-11

15:30

---

Buy Ticket

wed

2018-02-14

19:00

---

Buy Ticket

thu

2018-02-15

19:00

---

Buy Ticket

fri

2018-02-16

19:00

---

Buy Ticket

sun

2018-02-18

15:30

---

Buy Ticket

PROGETTO ROSSINI
is dedicated to his memory
2018 marks the 150th anniversary of Gioachino Rossini’s death

cast

Rosina
Laura Verrecchia (3,7,11,15,18)
Chiara Amarù (6,9,14,16)
 
Il conte d’Almaviva
Giorgio Misseri (3,7,11,15,18)
Francisco Brito (6,9,14,16)
 
Bartolo Omar Montanari
 
Figaro
Bruno Taddia (3,7,11,15,18)
Vincenzo Taormina (6,9,14,16)

 
Conductor Stefano Montanari
Director Bepi Morassi
Sets & Costumes Lauro Crisman
light designer Vilmo Furian

La Fenice Orchestra & Choir
Chorus Master Claudio Marino Moretti

La Fenice Production

italian and english surtitles






Il barbiere di Siviglia remains the most popular of Rossini’s comic operas, providing a witty and lively score to accompany a series of incidents worthy of any farce. The first performance was unsuccessful as a result of objections made by supporters of Paisiello’s opera on the same subject. The usual overture was that originally written for the opera Aureliano in Palmira , and the work includes some of the best known of all operatic elements in Figaro’s Largo al factotum and in Rosina’s Una voce poco fa (I heard a voice a little while ago), as well as the fulminations of Dr Bartolo and Don Basilio’s La calunnia (Slander), praise of a useful way to dispose of the Count. Other well known elements in the score include the Count’s first act serenade Ecco ridente in cielo (Lo, smiling in the heaven), while the music-lesson scene may include a coloratura aria, if Rosina is sung by a soprano, such as Alabyev’s Nightingale, an opportunity for vocal display