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GIOACHINO ROSSINI, IL BARBIERE DI SIVIGLIA



Venice: La Fenice Opera House

Conductor: Gregory Kunde

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

sun

2018-08-19

19:00

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Not available online

fri

2018-08-24

19:00

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sun

2018-08-26

19:00

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Not available online

sun

2018-09-02

19:00

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Not available online

tue

2018-09-04

19:00

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Not available online

sat

2018-09-15

15:30

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Not available online

wed

2018-09-19

19:00

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Not available online

sun

2018-09-23

15:30

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thu

2018-09-27

19:00

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thu

2018-10-04

19:00

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sat

2018-10-06

15:30

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sat

2018-10-20

15:30

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wed

2018-10-24

19:00

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fri

2018-10-26

19:00

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sun

2018-10-28

15:30

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tue

2018-10-30

19:00

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

cast

Rosina Chiara Amarù
Il conte di Almaviva Francisco Brito
Figaro Julian Kim
Bartolo Omar Montanari
Fiorello William Corrò

Conductor Gregory Kunde
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