The Barber of Seville 2017 Study Guide REVISED (1 … Barber of Seville Study Guide The word opera...
Transcript of The Barber of Seville 2017 Study Guide REVISED (1 … Barber of Seville Study Guide The word opera...
2 Barber of Seville Study Guide
Table of Contents
Welcome 3
Introduc on to Opera 4
A Night at the Opera 6
About the Composer: Gioachino Rossini 7
A Brief Barber History 8
Cast of Characters and Synopsis 9
Opera Buffa 11
A Word from the Director 12
Commedia Dell’ Arte 13
Commedia Dell’ Arte and The Barber of Seville 14
Rossini the Self‐Borrower 15
Aria Study: Largo al Factotum 16
Talent Behind the Scenes 17
For Teachers 18
References 19
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“Opera is a drama c and lyric work of art combining all charms of the fine arts in a passionate ac on in
order to arouse sympathy and illusion by means of pleasant sense percep ons. The composite parts of
the opera are the poem, music and decora ons. Poetry speaks to the mind, music to the ear, pain ng to
the eyes; and all must become one to move the heart!”
‐ Jean‐Jaques Rousseau (1712‐1778)
As an art form, opera has a unique quality that awakens the visual and aural imagina on, s rs emo ons
that perhaps we did not know we had, and guides the audience into a common experience that collec vely
s mulates the soul. Through imagina ve libre os, which bring to life grand works of literature, and with the
magnificent power of music guided by the excep onal acroba cs of the trained human voice, we can truly
experience an art that is human in its most dis lled form. Opera gives us a chance to live and sense the
essence of our civiliza on, past and present, through a musical language that spans from the Baroque to the
Modern with messages that are true to our human nature and history. Where else can one hear what love
sounds like without being told you are in love? Only through the pen of such composers, whose names will
never fade in history, can we translate emo ons into the universal language of music! Music is the driving
force of opera, engulfing the audience from beginning to end and only le ng go once the curtain has come
down for the last me.
Rossini’s The Barber of Seville, the classic opera buffa with its stock characters taken from Comedia Dell’Arte,
is a veritable tour de force of vocal acroba cs, musical wit and comedy. From beginning to end, Calgary
Opera’s produc on of The Barber of Seville will keep the audience entertained at every melodic turn.
It is my sincerest hope that the crea vity of the ar sts and the magic of this opera upli s your spirits as it
does mine.
Sincerely,
Olga Primak Educa on and Outreach Coordinator
WELCOME!
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The word opera comes from the Italian “opera in musica,”
which means “works or plays in music.” Simply put, opera is
a play in which the characters sing their lines rather than
speak them, with music as its driving force. It is a mixture of
many different types of art, combining music, drama, dance
elaborate costumes and scenery.
Tradi onal view holds that the first completely sung musical
drama (or opera) developed as a result of discussions held in
Florence in the 1570’s by a group of intellectuals, poets,
ar st, scien sts and humanists such as composers Giulio
Caccini, Peri and Vincenzo Galilei (father of astronomer
and scien st, Galileo Galilei, par cularly known for his
improvements to the telescope). The Floren ne Camerata,
as they called themselves, explored trends in the arts,
focusing on music and drama. One par cular point of focus
was their joint belief that music, in par cular vocal works,
had become overembellished and that returning to a more
pure form would be a powerful way to tell stories and
express emo ons. Gathering inspira on from Classical
Greece, its dramas and the idea of the Greek chorus, which
acts as a commentator repor ng on the ac ons, they
evolved the idea of “recita vo” — a single vocal line, sung in
a free, declamatory style, with simple instrumental support.
At the me it was argued that recita vo was far superior to
spoken verse, since the musical inflec ons intensified the
implied emo ons. Thus, it is no wonder that many of
the first operas were based on Greek tragedies with
mythological themes.
The first opera composed by Jacopo Peri in 1597, Dafne,
about the nymph who fled from Apollo and was turned into
a laurel tree as a way to save her virtue, was a through‐
composed musical work comprised of recita ve sec ons, to
reveal the plot of the drama, and arias which provided the
soloist an opportunity to develop the emo ons of the
character. Sadly most of the music for the opera has been
lost, however, Claudio Monteverdi’s L’Orfeo, composed in
1607 based on the Orpheus myth, was very successful and
so, to this day we can hear the music in performance and
recordings: h ps://youtu.be/sKD1qUVJJBU
Opera has flourished throughout the world as a vehicle
for the expression of the full range of human emo ons.
Italians claim the art form as their own, retaining dominance
in the field through the death of Giacomo Puccini in 1924.
Rossini, Bellini, Donize , Verdi and Leoncavallo developed
the art form through clearly
defined periods that produced
opera buffa, opera seria, bel
canto and verismo. Mozart
(1756‐1791) wrote operas in
Italian as well as German and
championed the singspiel (sing
play), which combined the
spoken word with music (The
Magic Flute 1791, Abduc on
from the Seraglio 1782), a form
also used by Beethoven in his
opera, Fidelio. Bizet (Carmen), Offenbach (Les Contes
D’Hoffmann), Gounod (Faust) and Meyerbeer (Les
Huguenots) led the adapta on by the French which ranged
from the opera comique to the grand full‐scale tragedie
lyrique. German composers von Weber (Der Fresichutz),
Richard Strauss (Ariadne auf Naxos) and Wagner (Der Ring
des Nibelungen) developed diverse forms such as singspiel
to through‐composed spectacles unified through the uses of
leitmo f. The English ballad opera, Spanish zarzuela and
Viennese opere a helped to establish opera as a form of
entertainment, which con nues to enjoy great popularity
throughout the world.
INTRODUCTION TO OPERA
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With the beginning of the 20th century, composers in North
America diverged from European tradi ons in order to focus
on their own roots while exploring and developing the vast
body of the country’s folk music and legends. Composers such
as George Gershwin with Porgy and Bess, Douglas Moore with
The Ballad of Baby Doe, Carlisle Floyd with Suzanna, John
Adams with Nixon in China and Gian Carlo Meno with The
Medium have all cra ed operas that have been presented
throughout the world to great success. In Canada, composer
John Estacio and libre st John Murrell were commissioned by
Calgary Opera to produce Filumena, based on a true Canadian
story of the last woman to be hanged in Alberta — which
premiered in 2003 in Calgary to great success, and is one of
the most produced Canadian grand operas in the world.
Laura Whalen as the title character in Calgary Opera’s Filumena (2003)
https://youtu.be/_4Riw2wLsww
John Adam’s Nixon in China, Vancouver Opera
h ps://youtu.be/vd‐ODo8v06A
George Gershwin’s Porgy and Bess at Teatro la Scala
h ps://youtu.be/VfziZxrXNy0
Gian Carlo Meno ’s The Medium, Pensacola Opera
h ps://youtu.be/uReeJn3v0EM
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There are many preconceived no ons propagated by
popular media about opera and so, a first visit to an
opera c performance may bring up a number of ques ons.
Here are some ps on how to make your night at the opera
most enjoyable.
By far, the most popular ques on and concern is:
What do I wear to the opera?
In the past, opera audiences have been known to wear
lavish gowns as well as top hats and bow es, giving the
rest of the public a feeling that opera isn’t for everyone,
which is definitely not the case! In today’s opera lovers’
world, audiences come dressed in whatever they feel most
comfortable! Your pajamas might a ract stares, but to
each his own!
https://www.theguardian.com/stage/theatreblog/2012/oct/18/what-should-you-wear-at-theatre
Where are the performances held?
All Calgary Opera’s produc ons are held at the Southern
Alberta Jubilee Auditorium. If you are driving, it is
recommended that you arrive approximately 45 minutes
prior to the start of the show to avoid traffic. Another great
reason to ensure that you arrive on me is that should you
be late, you may have to wait in the lobby for the late
arrival entries, and be forced to watch the opera from the
monitors in the lobby for a period of me rather than from
your seat.
Your Experience at the Opera
On performance nights, star ng at 6:30 pm, Calgary Opera
presents our Pre‐Show Chats, where some of Calgary’s
most learned musicians and historians give an interes ng
and entertaining talk about the opera that is about to be
performed on stage. Ice cream, coffee, tea and other treats
are available in the lobby as well as different exhibits which
will make your early arrival much more enjoyable.
You will be advised by an announcement when the doors
to the main hall are open. Don’t forget to get your program
from an usher prior to taking your seats, as it will give you
addi onal informa on on the opera and the ar sts. You
will no ce a number of individuals gathered at the very
front of the auditorium: these are the patrons that like to
look into the orchestra pit and all its splendors. Don’t be
shy, and if you have me, do wander down yourself during
intermission to have a look!
Food and drink are not allowed inside the hall and, since
sound carries due to the acous cs of the hall, please open
any candies you might have prior to the start of the show.
Also remember that many hours have gone into bringing
this par cular produc on to you, so please be considerate
of the performers and your fellow audience members and
turn off and put away your cell phones.
Please remember that photography is not permi ed once
the performance starts. The design and direc on of the
show is under intellectual property and only the official
Calgary Opera photographers can take pictures.
Another big concern that the public has about opera is the
fact that it is in a different language. This, of course, is true
for most operas, however, like any foreign film that is
accessible to the public, opera always, no ma er what
language it’s sung in, has easy to read SURTITLES which are
projected above the stage.
Please, do feel free to show your apprecia on to the
performers by laughing at the humorous parts and or
applauding a er a well—performed aria. If you were
par cularly impressed by a performer’s vocal acroba cs,
feel free to express your enthusiasm vocally as well as by
applause; if you hear fellow audience members shout
“bravo” for a man, “brava” for a woman or “bravi” for a
group of performers, chime in if the spirit moves you! It’s
all part of your unique opera experience! And remember,
for a performer, audience response is one of the most
rewarding parts of their work… posi ve audience response,
that is!
Some may argue that opera is an acquired taste. However,
to acquire the taste we must first expose ourselves to it,
and there is no be er way than doing it live!
Below are some helpful Calgary Opera links that may
answer any addi onal ques ons you may have:
https://www.calgaryopera.com/discover/plan-your-visit
https://www.calgaryopera.com/discover/faq
A NIGHT AT THE OPERA: Your Guide to a Night to Remember
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EARLY YEARS The composer of The Barber of Seville was born in Pesaro, Italy, on February 29, 1792 (a leap year). For a me his parents earned a living traveling from one small opera house to another — his mother as a singer and his father as a horn player in the orchestra. He had only a li le educa on in reading, wri ng, grammar and arithme c and most of his childhood he ran wild. When Gioachino was 12, his parents ended their travels and se led in Bologna where he studied music. He also began to play the violin and viola and to compose sonatas and other pieces. Because of his beau ful singing voice, he was o en invited to sing in churches in Bologna, and he was soon able to earn extra money playing harpsichord for opera companies in and around Bologna. At 14, he began more formal music studies at the Conservatory. Although he rebelled against the strict textbook rules for music, he was a good student and even received a gold medal. At the end of his first year, he was chosen to write a cantata that was performed in public. Unfortunately, he had to leave the Conservatory a er four years in order to earn money for his family. All his life he was to regret the fact that he did not receive more musical training.
SUCCESS
Rossini's first paid commission was a one‐act comic opera for a theatre in Venice. The Marriage Contract, wri en in less than a week, earned him one hundred dollars — an enormous sum for the 19‐year‐old Gioachino! The opera was a success, and he kept wri ng. His first major success came in 1812 with La Pietra del Paragone which used musical pieces from his earlier opera. This comic opera was performed over 50 mes in its first season alone. As a result of its success, he was paid to write three more operas. Speed was one of Rossini’s most notable characteris cs as a composer — he had actually wri en five operas in one year! Rossini's first serious opera, Tancredi (its overture borrowed from La Pietra del Paragone) opened in Venice in 1813, and became popular throughout Italy, Europe, and North and South America. With his comic opera The Italian Girl in Algiers, the 21‐year‐old Rossini became the hit of Venice. Emperor Aurelian in Palmyra and The Turk in Italy followed.
In the six years following The Barber of Seville, Rossini composed 16 operas, turning out full‐length operas in a few weeks or even days. Some were good, others were not. Among the best were Cinderella, The Thieving Magpie, Moses in Egypt, Semiramide, The Siege of Corinth and The Count Ory. His thirty‐ninth and final opera was William Tell, the familiar story in which William Tell must shoot an apple off the top of someone’s head. You probably know the William Tell overture as the theme to The Lone Ranger and have heard it played in many cartoons! ROSSINI AND THE GOOD LIFE A er William Tell, Rossini completely gave up wri ng operas. In his final years, he was plagued with physical and emo onal illnesses. In his good periods he was a popular member of French society, and everyone wanted invita ons to a Rossini dinner or party. Rossini was a very skilled chef and a great lover of food. One of his favorite dishes was turkey stuffed with truffles (very expensive mushrooms). According to one story, Rossini claims to have cried only three mes in his life: the first me over the failure of The Barber of Seville’s premiere; the second when he heard famous violinist Niccolò Paganini play; and finally, when his picnic lunch, a turkey stuffed with truffles, fell overboard during a boa ng party. Rossini gave his name to many recipes, including a very famous dish called Tournedos Rossini. Great chefs dedicated dishes to him, such as Poached Eggs alla Rossini, Chicken alla Rossini and Filet of Sole alla Rossini. A dessert dedicated to William Tell was a tart served on the opera's 1829 Paris opening night. Active in social and cultural affairs, Rossini remained in his later year as a Viennese newspaper had earlier described him: "...highly accomplished, of agreeable manner and pleasant appearance, full of wit andf un, cheerful, obliging, courteous, and most accessible. He is much in society, and charms everyone by his simple unassuming style." Falling ill in 1868, Rossini died in his summer home in Passy, outside Paris. He was buried in Paris at a magnificent funeral a ended by many admirers and dignitaries. A er providing for his wife, he le most of his wealth to start a conservatory of music at Pesaro, his birthplace in Italy.
Rossini Opera Fes val is an
annual fes val dedicated
to Rossini’s operas in his
hometown of Pesaro, Italy.
ABOUT THE COMPOSER: GIOACHINO ROSSINI
Photograph 1865
Portrait by Vincenzo Camuccini 1815
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Just as in present day films, French playwright Pierre‐Augus n
Beaumarchais’ play The Barber of Seville had been made into
a number of operas since its premiere in 1775. And not unlike
today’s movie scripts, the play was but a thinly veiled
government cri cism which closely coincided with the
growing social unrest marked by the French Revolu on, which
began in 1789. Before Rossini was commissioned to write the
opera, out of all the operas that were based on the subject of
Beaumarchais’ play, the most successful was by far that of
Giovanni Paisiello (1740 – 1816) wri en in 1782.
Paisiello’s The Barber of Seville Overture:
h ps://www.youtube.com/watch?v=wOmtx5pIMzo
Paisiello’s The Barber of Seville Count Almaviva’s Cava na:
h ps://www.youtube.com/watch?v=PSSxQJrRIF4
Out of respect for the old composer and for the work itself,
Rossini, who composed his version of Le Barbier de Seville in
1815, wrote a number of public and private disclaimers in
which he praised the ar stry of his predecessor and affirmed
the newness of his own composi on which he was obliged to
rename “Almaviva”.
Legend has it that Gioachino Rossini, who was only 23 at the
me, wrote the opera in 13 days. He signed the contract for
the commission of the opera on December 15, 1815, which
was just over two months prior to opening night, on February
20, 1816 in Rome at the Teatro Argen na.
The first performance of “Almaviva” was a complete disaster:
the commissioning impresario, the person who provided the
funds for the opera, died on February 6, not to men on
various on stage accidents, spanning from the Don Basilio
tripping and giving himself a bloody nose and having to sing
his aria with a handkerchief over his face to a cat wandering
onto the stage, being chased by Figaro and hiding under
Rosina’s skirt. But worse of all were the Paisiello supporters
who came just to heckle and jeer the performers during the
opera. Their loyalty to Paisiello made them completely blind
to the fact that Rossini’s composi on was far superior.
The second performance, however, was a complete success,
so much so that two months a er the death of Paisiello,
Rossini had the courage to rename the opera Il Barbiere di
Siviglia. With Rossini’s spirited overture, upbeat humour,
audible quick wit and poignant musical innova ons, The
Barber of Seville remains one of the most frequently
performed operas in the world.
Beaumarchais wrote three plays about the barber Figaro and
his rela onship with Almaviva. It is interes ng to note that
due to the fact that Beaumarchais was also an amateur
musician he envisioned The Barber of Seville as an opera;
however, it was rejected by the Paris Opera Comique and so it
was created into a play. The Marriage of Figaro is the second
play in the trilogy first performed in 1784 and Mozart’s opera
came to audiences in Vienna in 1786. In the third play, La
Mere Coupable (The Guilty Mother), we find the Almaviva
family in turmoil once again faced with the reality of past
ac ons and secrets that require Figaro and Suzanna, his wife
from The Marriage of Figaro, to come to the rescue. La Mere
Coupable is a sen mental drama with none of the comedy we
see in The Barber of Seville or The Marriage of Figaro. La Mere
Coupable was first performed in 1797.
A BRIEF BARBER HISTORY
Teatro Argen na in Rome
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CAST OF CHARACTERS
NAME DESCRIPTION VOICE TYPE PRONUNCIATION
Figaro A barber and jack of all trades Baritone FEE‐gah‐roh
Rosina Don Bartolo’s young ward Mezzo‐soprano Roh‐ZEE‐nah
Almaviva A count in love with Rosina Tenor Al‐mah‐VEE‐vah
Bartolo A doctor and Rosina’s guardian Bass BAR‐toh‐loh
Don Basilio A music teacher Bass Bah‐ZEE‐lee‐oh
Berta Servant to Don Bartolo Soprano BER‐tah
Fiorello Servant to count Almaviva Bass Fee‐oh‐REL‐loh
SYNOPSIS ACT 1
In front of the house belonging to old Dr. Bartolo, young and wealthy count Almaviva serenades the beau ful Rosina, Dr. Bartolo’s jealously guarded ward. Hearing no response from Rosina, the count dismisses his musicians and is prepared to leave when Figaro, the town barber and factotum (Jack of all trades) enters the square singing his own praises: h ps://youtu.be/Dq_0wPYFp9A Alamaviva and Figaro realize that they are not strangers to each other, and that Figaro was once the count’s servant. When Almaviva explains that he has followed Bartolo and Rosina to Seville to capture Rosina’s heart, Figaro gives him the great news that he is in fact the factotum in Bartolo’s home and has free access into the house. At this point Rosina emerges onto her balcony ready to give a note to her admirer and manages to do so even though Bartolo hovers over her. Bartolo is well aware that count Almaviva is vying for Rosina’s heart, which he wants for himself along with her dowry. In the note Rosina asks her young suitor for his inten ons and his name. Almaviva replies with
another serenade and discloses that he is Lindoro, a poor student whose inten ons are to love her: h ps://youtu.be/nmJsF9OF_eQ. Now more than ever moved by his desire to see Rosina, the count begs Figaro to help him find his way into Bartolo’s house. Inspired by the golden coins presented to him, Figaro concocts a plan whereby the count will present himself as a drunken soldier (someone who is drunk will not be a threat to Bartolo’s claim on Rosina, according to Figaro) to be billeted in Bartolo’s home (common prac ce for regimental soldiers at the me). In Bartolo’s house that same morning, we find Rosina wri ng Lindoro a le er: h ps://youtu.be/mDyXqf0at_w. Figaro made his way into Bartolo’s home and managed a brief mee ng with Rosina before Bartolo appears and expresses his annoyance with him. Overwrought with suspicion, Bartolo ques ons Rosina about her mee ng with Figaro. When Rosina’s singing teacher Don Basilio arrives, Bartolo brings him up to date on the situa on with Rosina. Meanwhile, Figaro has overheard Bartolo and Basilio’s conversa on. He starts to prepare the groundwork for ‘Lindoro’, but soon realizes that the wily Rosina is already ahead of him.
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The Barber of Seville by Luis Alvarez Catala (1836‐1901)
Bartolo suspects Rosina of wri ng a le er to ‘Lindoro’; when she protests her innocence, he warns her not to trifle with him, advising her to find more plausible excuses for a man of his standing: h ps://youtu.be/nC8VUiaaZio
Almaviva, now disguised as a soldier, arrives to take up his ‘billet’ in Bartolo’s house. Rosina is of course delighted when he reveals that he is really her secret admirer. Bartolo’s annoyance at Almaviva’s drunken behaviour causes such a row that the mili a are called by the neighbours. The Count, much to Bartolo’s annoyance, escapes arrest.
ACT 2
Assuming yet another disguise, Almaviva enters the house as Don Alonso, a music teacher who says he has come to give Rosina her music lesson in place of Don Basilio, who, he claims, has suddenly fallen ill. To gain Bartolo’s trust, Don Alonso reveals that he has intercepted a note from Almaviva to Rosina. Bartolo fetches Rosina for her lesson. While Bartolo dozes, Rosina and ‘Lindoro’ express their love and make plans to elope that night.
Figaro arrives to shave Bartolo. He manages to steal the key to Rosina’s balcony and lures Bartolo away from the music room by smashing a pile of crockery. All is going to plan un l Don Basilio unexpectedly appears, but Figaro quickly pays him off and Basilio withdraws. Figaro resumes shaving Bartolo, and tells Rosina of his plan for the lovers to make their escape. Bartolo,
however, has not been en rely duped, and penetrates Almaviva’s disguise. The game is up for the lovers – albeit temporarily. When Bartolo discovers that Basilio has never heard of Don Alonso, he decides to marry Rosina without delay. He confronts Rosina with the le er from Don Alonzo and tells her that Lindoro and Figaro are ac ng on Almaviva’s behalf and that Lindoro has deceived her. Rosina accepts Bartolo’s marriage proposal and tells him of their escape plan.
Following a violent thunderstorm, Figaro and Almaviva climb into the house by way of a ladder and an open window, as it was agreed with Rosina. They are confronted by Rosina who is angry at being ‘used’ by Lindoro – un l she learns that he is in fact Almaviva and falls willingly into his arms. h ps://youtu.be/En7uUiHIFoY Figaro is anxious for the lovers to be off, but they discover they are unable make their escape because Bartolo has removed the ladder. h ps://youtu.be/2dprmPPVfas. Basilio returns with the notary who is ready to marry Rosina to her guardian, but a bribe and threats easily persuades Basilio to witness instead the marriage of Rosina to Almaviva. Bartolo and the magistrate appear too late and he is obliged to acknowledge that he has finally lost Rosina and gives the young couple his blessing.
11 Barber of Seville Study Guide
Opera buffa, the comic or sa ric genre, must be dis nguished from its more serious predecessor, opera seria. The opera seria generally dealt with historical, legendary, or mythological themes, and usually contained a happy ending with due reward for rec tude and good deed. Quintessen al examples of opera seria are Handel’s Julius Caesar (1724), Gluck’s Orfeo et Euridice (1762) and Mozart’s Idomeneo (1781).
As the end of the 18th century approached, the opera buffa developed; it was a more realis c genre that portrayed more human characters in everyday situa ons. The lower classes, in an almost uncanny extension of the classical Commedia dell’Arte genres, preferred the sa re of the opera buffa genre, which, like its predecessors, was usually concerned with love intrigues involving cuckolds, deceiving wives and scheming servants. In certain respects, the opera buffa genre’s themes and subjects provided democra za on in the performing arts, which enabled the lower classes, mostly through comedy, to sa rize their masters and vent their frustra ons and chagrin at social injus ces.
In contrast to the opera seria, the opera buffa preferred simplicity in design. Generally, a few characters would be portrayed against an uncomplicated se ng with commensurate simplicity of underlying melodies and tunes. Yet musically, there would be much stylis c contrast: the use of rhythmic, staccato passages to emphasize coque sh moods. Opera buffa featured extended act finales with sophis cated ensembles and many set‐pieces involving the par cipa on of many characters in duets and trios.
Pa er songs are a feature of opera buffa: these are tongue twisters delivered at presto speed that are an art in itself that require an acute sense of comic ming in order for the singer to make the words intelligible, and a vocal virtuosity equivalent to words coming out of a keyboard at breakneck speed. In most classic opera buffas, the pa er usually portrayed old busybodies, and were sung by the basso buffo character who would be cha ering and grumbling incessantly.
Rossini’s opera buffas created the role model for pa er songs and made them de rigeur: in The Barber of Seville, Figaro’s Largo al factotum is an example of quintessen al pa er.
Rossini once wrote: “I was born for the opera buffa.” His The Barber of Seville is pure opera buffa, and an ingenious wri ng within that genre and style. Like Donize ’s Don Pasquale, both are 19th century works. Pure Commedia dell’Arte plots are presented with musical and drama c tastefulness, elegance and refinement, never bearing the faintest hint of vulgarity.
OPERA BUFFA
Pacific Opera Victoria: Antonio Figueroa as Almaviva, Set Design by Ken MacDonald
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By Alain Gauthier, Director ‐ Calgary Opera’s produc on of The Barber of Seville
This produc on will be my third produc on of The Barber of Seville. I’ve done two very classic ones (one in Montreal and one in Aus n, Texas), set up in the original period me of the play. The produc on that will be presented in Calgary is se ng up the ac on in the early years of the 20th century.
What is remarkable about this opera, originally a French play wri en by author Beaumarchais, is that it
follows the basic rules of commedia dell’arte, a form of theatre, origina ng from Italy that was popular in
Europe from the 16th through the 18th century.
In this type of comedy, you’ll find a gallery of characters that represent fixed types, such as foolish old men, servants and lovers. In this way, The Barber of Seville looks like a classic commedia dell'arte plot.
Old, possessive guardian (Bartolo) seeks to marry young ward (Rosina) but is defeated by the girl's lover (Count Almaviva) and his servant (Figaro). This is the standard substance of farce, with Bartolo as the foolish old man and Figaro as the ingenious servant.
For me, comedy is like a clock mechanism. It has to be very precise to work. My goal, when direc ng a piece like The Barber of Sevillle, is to make sure that all the elements of this mechanism work perfectly together. Although the opera originated from a play, in the opera version the music adds an even more accurate degree of preciseness. For example, the finale scene of Act I really sounds like a machine with its constant and unstoppable rhythm, reminding me the of cking of a clock. One of my goals will be to try to illustrate visually how this crazy machine works, and how it affects the characters on stage.
A WORD FROM THE DIRECTOR
Pacific Opera Victoria: Set Design by Ken MacDonald
13 Barber of Seville Study Guide
In the 16th century one of the most popular forms of street
theatre in Italy was Commedia dell’Arte. It was popular
theatre with an emphasis on ensemble ac ng. A typical
scenario involved a young couple’s (l’innamora ) love being
thwarted by their guardians or elders (vecchi). The scenario
used symmetrical pairs of characters: two elderly men, two
lovers, two zanni, a maidservant, a soldier and extras. The
lovers, who played unmasked, were scarcely true commedia
dell’arte characters — their popularity depending on looks,
grace and fluency in an eloquent Tuscan dialect. The
parents were clearly differen ated. Pantalone was a
Vene an merchant: serious, rarely consciously comic and
prone to long rades and good advice. Do ore Gra ano
was, in origin, a Bolognese lawyer or doctor; gullible and
lecherous, he spoke in a pedan c mixture of Italian and La n.
Other characters began as stock masks and developed into
well‐known characters in the hands of the most
talented players. The Capitano developed as a caricature of
the Spanish braggart soldier, boas ng of exploits abroad,
running away from danger at home. He was turned
into Scaramuccia by Tiberio Fiorillo (1645–47).
The zanni, who were o en acrobats, or “tumblers,” had
various names such as Panzanino, Bura no, Pedrolino (or
Pierrot), Scapino, Fritellino, Trappolino, Brighella and most
notably, Arlecchino and Pulcinella (related to the
English Punchinello, or Punch). Columbina, a maidservant,
was o en paired in love matches with Arlecchino, Pedrolino,
or the Capitano. With Harlequin she became a primary
character in the English pantomime’s harlequinade.
The zanni had already been differen ated as comic rus c
and wi y fools. They were characterized by shrewdness and
self‐interest; much of their success depended on improvised
ac on and topical jokes. Arlecchino (Harlequin), one of
the zanni, was created by Tristano Mar nelli as the wi y
servant, nimble and gay; as a lover, he became capricious,
o en heartless. Pedrolino was his counterpart. Dol sh yet
honest, he was o en the vic m of his fellow comedians’
pranks. As Pierrot, his winsome character carried over into
later French pantomimes. The zanni used certain tricks of
their trade: prac cal jokes (burle) — o en the fool, thinking
he had tricked the clown, had the tables turned on him by a
rus c wit as clever, if not so nimble, as his own — and comic
business (lazzi).
*Source: Encyclopedia Britannica
COMMEDIA DELL’ ARTE
Figaro as Harlequin
14 Barber of Seville Study Guide
The storyline of The Barber of Seville clearly follows the
recipe of the typical commedia scene:
Two lovers — Lindoro and Rosina, two names typically used
in commedia for l’innamora .
Two old men who plot to separate them — Dr Bartolo and
Don Basilio. The zanni, Figaro, who through his cunning and
shrewdness helps them and humiliates the two vecchi.
Dr Bartolo is modeled a er il Do ore and Pantalone pulling
the characteris cs of the miserly old man, who is gullible,
glu onous, lecherous, o en in love with a young girl, who
through these characteris cs mocks the educated elite.
Don Basilio is a varia on of the Pulcinella character whose
name is derived from "pulcino," meaning chick, and
"pollastrello," meaning rooster. Pulcinella either plays dumb,
though he is very much aware of the situa on, or he acts as
though he is the most intelligent and competent, though he
is woefully ignorant. He is incessantly trying to rise above his
sta on, though he does not intend to work for it. He is a
social chameleon, who tries to get those below him to think
highly of him, but is sure to appease those in posi ons of
power. The characteris cs that we find in Don Basilio are
clearly of someone who acts as though he is in control of the
situa on and appeases to those who hold power over him.
For addi onal detailed informa on on the Commedia
dell’Arte Stock characters click on the link below:
http://www.tim-shane.com/commedia-stock-characters.htm
COMMEDIA DELL’ARTE AND THE BARBER OF SEVILLE
Il Do ore Plantalone
Arlecchino
15 Barber of Seville Study Guide
In the 18th and 19th centuries it was not unusual for composers to self borrow. That is, they would take mo fs or certain passages
from one piece and include it in another. If an opera composer found himself with an opera that was not successful, it was
customary for him to take that passage, as it may never be heard again, and include it in a new work. Rossini was very much a
enthusias c prac oner of this tradi on. The Overture to Barber was first composed for Aureliano in Palmira in 1813, then used
with some modifica ons for Elisabe a, regina d’Inghilterra in 1815. h ps://www.youtube.com/watch?v=si4xnjNnyH8
Below are some examples of self borrowing passages from the opera:
The opening chorus, Piano, pianissimo — derived from the opening chorus of Act II of Sigismondo (1814)
Almaviva’s aria Eccor ridente in cielo — based on the first six bars of the chorus of priests, Sposa del grande Osiride in
Aureliano in Palmira
Rosina’s aria, Una voce poco fa — the second part of the aria, Io sono docile, first appeared in Arsace’s rondo Non lasciarmi
in tal momento in Aureliano in Palmira and was also used in Elisabe a, regina d’Inghilterra
Basilio’s aria, La calunnia — the beginning is derived from a duet for Arsace and Zenobia in Aureliano in Palmira, while the
crescendo comes from a duet for Ladislao and Aldimira in Act I in Sigismondo
The Rosina/Figaro duet, Dunque io son — the melody, at the words Ah, tu solo Amor tu sei, sung by Rosina, was first heard
in Fanny’s aria, Vorrei spiegarvi il giubilo in La cambiale di matrimonio (1810)
Bartolo’s aria, A un do or della mia sorte — the orchestral mo f, while Bartolo sings I confe alla ragazza, il ricamo sul
tamburo, comes from a duet in the one‐act opera, Il Signor Bruschino (1813)
The Act II trio, Ah, qual colpo — the melody begun by Rosina with the words Dolce nodo avventurato is borrowed from Voi
che amato, comapiangete in the cantata Egle ed Irene (1814)
© Charles Osborne, 1975
ROSSINI THE SELF‐BORROWER
Pacific Opera Victoria: Sylvia Szadovszki as Rosina and Peter McGillivray as Dr Bartolo
Set Design: Ken MacDonald
16 Barber of Seville Study Guide
When Figaro first makes his appearance, he does so in perfect harmony with his commedia dell’arte counterpart. The zanni is an acrobat and in this aria that characteris c is evident in the vocal acroba cs that must be performed by the singer. This aria offers the character the opportunity to show off to his audience his personality as pompous, self‐aggrandizing and indispensable to those he serves. What makes this aria so popular is Rossini’s genius work with the text se ng. The 85‐year old Verdi said: “I cannot help believing that, for abundance of ideas, comic verve and truth of declama on, Il barbiere di Siviglia is the most beau ful opera buffa in existence.” Truth of declama on is what we have in this aria as well as in many others found in The Barber of Seville. Adding to the character’s comedic persona is the frene c pa er at the climax of the piece, giving him the opportunity, right at the onset, to make himself endearing and indispensable to the audience’s enjoyment of the opera. You can clearly hear what spoken Italian sounds like in the musical se ng of this text:
h ps://www.youtube.com/watch?v=7zHBdOLKrlc
Character: Figaro
Act I Scene I Largo al factotum della ci a. Make way for the *factotum of the city. Presto a bo ega che l'alba e gia. Rushing to his shop now that it's dawn. Ah, che bel vivere, che bel piacere Ah, isn't life good, how pleasant it is per un barbiere di qualita! For a barber of class! Ah, bravo Figaro! Ah, nice one Figaro! Bravo, bravissimo! Nice one, really nice one! Fortuna ssimo per verita! I am the luckiest it's true to say! Pronto a far tu o, Ready for anything, la no e e il giorno night and day sempre d'intorno in giro sta. Always busy and around. Miglior cuccagna per un barbiere, A be er lot for a barber, vita piu nobile, no, non si da. A more noble life cannot be found. Rasori e pe ni Razors and combs lance e e forbici, **Lancets and scissors, al mio comando At my command tu o qui sta. Are all here. V'e la risorsa, And there are `extras', poi, de mes ere Then, for the business colla donne a... col cavaliere... With women... and with gentlemen... Tu mi chiedono, tu mi vogliono, Everyone asks for me, everyone wants me, donne, ragazzi, vecchi, fanciulle: Women, young people, old people, the golden haired; Qua la parruca... Presto la barba... What about the wig... A quick shave... Qua la sanguigna... ***Some leeches for bleeding... Presto il biglie o... Quick the note... Qua la parruca, presto la barba, What about the wig, a quick shave, Presto il biglie o, ehi! Hurry ‐ the note, o me! Figaro! Figaro! Figaro!, ecc. Figaro! Figaro! Figaro! etc. Ahime, che furia! Heavens, what mayhem! Ahime, che folla! Heavens, what crowds! Uno alla volta, per carita! One at a me, For pi es sake! Figaro! Son qua. Figaro! Here I am. Ehi, Figaro! Son qua. O me, Figaro! Here I am. Figaro qua, Figaro la, Figaro here, Figaro there, Figaro su, Figaro giu, Figaro up, Figaro down, Pronto pron ssimo son come il fumine: Quicker and quicker the sparks fly with me; sono il factotum della ci a. I am the factotum of the city. Ah, bravo Figaro! Bravo, bravissimo; Ah, nice one Figaro! Nice one, really nice one; a te fortuna non manchera. From you luckiness will not depart. *factotum: a Jack‐of‐all trades, an individual who has many responsibili es and abili es ** Lancet: a tool used by surgeons for bloodle ng ***Historically barbers dedicated themselves to more than shaving and cu ng hair. Some du es barbers performed were: bloodle ng, den stry, etc.
ARIA STUDY: Largo al Factotum
Photo Credit:
17 Barber of Seville Study Guide
Name: Eugenio Saenz Flores
Role at Calgary Opera: Technical Director
Hometown: Monterrey, Mexico
Educa on: Produc on Program at The Na onal Theatre School of Canada
What made you decide to pursue this career path?
When I was in high school I took a Play Produc on course. Even though I really wanted to act in the class play, my teacher thought my ac ng skills should be saved for other things and offered me the role of Stage Manager. At the me I had no clue what that role was or that it even existed. A er that project I became heavily involved in the drama department at my high school back in Mexico. For most of high school I thought this would only be a hobby as I have always wanted to become a lawyer. It wasn’t un l one of my teachers and I cha ed about all the things anyone trained in technical theatre could do that I decided to move to Canada for theatre training. Ten years later here I am!
What does a typical day in produc on look like?
There is not a typical day per se when you are a Technical Director as every day is different depending on what part of the process you are at. But usually, during prep me for a produc on there is a lot of desk work: planning a set build, scheduling and making sure you an cipate any issues that may arise during your me at the theatre. Once you move into the theatre, the clock starts cking. If you did your prep right it should be a smooth sail to opening night. Every load in is different as some shows have bigger sets, some have lots of special effects, some have no sets at all, some have lots of video. So it really varies from show to show what your days at the theatre look like. Once the set, lights, props, special effects, video, sound and all other technical elements are ready, you can get the actors to start rehearsing. Rehearsal days are longer than usual as we are there before, during and a er rehearsals. A er a few days of rehearsals we have our dress rehearsal before our big opening night. Once the show runs we get a li le breathing me, but usually by this me we are already planning the next one (back to prep me) and also planning the load out, which most of the me is whatever we did on the load in just backwards.
If someone was interested in becoming the Technical Director of an opera company, what would you recommend they have in terms of skills and experience?
I think that anyone that wants to become a Technical Director should do every job backstage at least once. A good place to start is by volunteering at a local community theatre, high school plays or even at university. Doing these small shows where everyone is hands on is a huge learning experience. No ma er if you are doing a show in a Broadway theatre or a small play at a small black box theatre in a high school most shows whether opera, theatre or dance have similar roles and similar processes. Every show has a Director, Stage Manager, Performers (actors, singer, dancers, musicians), Designers, Technicians, Lights, Sound, Props, Costumes so ge ng to know these roles will help you understand them be er and allow you to help your team when you are in charge.
What do you love most about this career?
My favourite part of what I do is the people I work with. As I get to work full me with a company I get to meet all kind of ar sts that come and work with us to put up a show. Each one of them brings a different set of skills and ideas that I get to learn from.
What surprises you most about this career?
When I was in school I thought that the theatre, dance and opera world were almost polar opposites, but even though they appear to be in essence they are the same. They all tell a story and they all are put together in a very similar way – from a produc on point of view. For anyone who works in theatre, dance or opera, the skills needed to work in the produc on end of the shows are very similar and very easily interchangeable.
What is your favourite opera you have worked on? Why?
Not sure I have a favorite one as I enjoy all of them, but the most memorable one I worked on was a produc on of Tosca back in Mexico in 2009. It was my first opera by Puccini, the score is strong and has some great arias in it. Not to men on it was my second kick at the can at an opera and I was just ge ng to know this world. I am very excited to be revisi ng this show in April!
What do you enjoy outside of opera?
Even though we can be stuck in dark theatres for a lot of our jobs, I really enjoy going to watch other performances, whether it’s Alberta Ballet, the CPO, a Ver go Theatre show, a concert, sports events or a ending a museum. I always try to keep myself current and keep learning on what is out there and how I can use it to grow not only professionally but personally.
TALENT BEHIND THE SCENES
18 Barber of Seville Study Guide
Dear Teachers,
The Barber of Seville is an opera rich in content, both entertaining and educa onal. In addi on to the informa on found in this
study guide, I am also including a number of links that will help you bring this content to your classroom according to your
student’s needs.
ACTIVITIES, DISCUSSIONS AND RESEARCH:
Refer to page 16 ‐ Aria Study: Largo al Factotum. Figaro was the town barber and Jack‐of‐all trades. In medieval Europe
barbers were also medical prac oners who performed treatments such as bloodle ng, pulling teeth, administering
enemas, in addi on to cu ng hair and shaving. Although this prac ce had become rare among barbers at the me
The Barber of Seville was wri en, Figaro’s responsibili es are s ll those of the barber surgeon. Your students can research
the different tools used by barber surgeons through the centuries as well as the significance of the barber pole which is s ll
seen outside barbershops today.
http://www.abc.net.au/radionational/programs/bodysphere/when-barbers-were-surgeons-and-surgeons-were-barbers/6391468
https://www.mdrnyu.org/fall-2015-bloody-history-of-barber-surgeons/
The barber pole informa on http://www.history.com/news/ask-history/why-are-barber-poles-red-white-and-blue
Commedia dell’arte actors used masks for their characters, except for l’innamora . Research the different characteris cs of
the characters from The Barber of Seville matching those of their Commedia counterparts. Create masks that match the
criteria and re‐enact or create a visual art piece that recreates a scene from the opera.
Commedia dell’arte masks http://www.commediamask.com/index.html
Informa on on comedia dell’arte stock characters http://www.tim-shane.com/commedia-stock-characters.htm
Don Basilio’s aria, which he sings in Act I, La Calunnia. http://www.definitions.net/definition/calumny. In this scene, Basilio
proposes a great way for Dr. Bartolo to rid himself of Count Almaviva by spreading a false rumor about him. Listen to the
aria, watch the video and read the transla on. Discuss with your students the implica ons of such an ac on. Note that in
the opera Dr. Bartolo in ally refused to go along with this scheme.
Don Basilio sings La Calunnia http://www.opera-arias.com/rossini/il-barbiere-di-siviglia/la-calunnia-e-un-venticello/
https://today.law.harvard.edu/spread-of-false-information-causes-dangers-says-sunstein/
http://www.screenretriever.com/online-safety-and-behavior-center/the-devastating-impact-of-cyberbullying/
https://www.getcybersafe.gc.ca/cnt/cbrbllng/prnts/lgl-cnsqncs-en.aspx
The Barber of Seville is considered to be one of the best opera buffas in performance to this day. Other than the storyline,
how did Rossini create humour through his music.? What are some musical aspects that we associate with humour? Listen
to the following musical excerpts and compare.
h ps://www.youtube.com/watch?v=EVZWc0h2Z5M compare with h ps://www.youtube.com/watch?v=q3ZazDkxzk0
h ps://www.youtube.com/watch?v=SKrz1pl9oPw compare with h ps://www.youtube.com/watch?v=80g9E1JZoZg
h ps://www.youtube.com/watch?v=7t5Mz8FvCz0 compare with h ps://www.youtube.com/watch?v=PUC6bLj94rQ
Whatever happened to Figaro, Rosina, Almaviva, Bartolo, etc? Mozart’s The Marriage of Figaro is the second instalment of
the original play by Beaumarchaise. Compare the works of Mozart and Rossini. Would Rossini have heard Mozart’s opera?
If he had, would this have influenced his musical characteriza on? Why did Mozart choose the second play in the trilogy
rather than the first? How does Almaviva in the Barber and Almaviva in The Marriage compare? How does Figaro
compare? Who is Suzanna? There are a number of new characters, who are they? What is a trouser role?
Informa on on The Marriage of Figaro https://www.britannica.com/topic/The-Marriage-of-Figaro-opera-by-Mozart
Le Nozze di Figaro by Mozart, Paris produc on h ps://youtu.be/x8OHbbmfnW8
FOR TEACHERS
19 Barber of Seville Study Guide
Ba a, Andras. Opera. Composers, Works, Performers. Cologne: Konemann Verlagsgesellscha , 2000
“The Barber of Seville”. Canadian Opera Company Guide, 2015
Ganeri, Anita and Barber, Nicola. The Young Person’s Guide to the Opera. London: Pavilion Books Ltd., 2001
Mar n, George. The Opera Companion. London: John Murray Publishers, 1984
Mordden, Ethan. Opera Anecdotes. Oxford: Oxford University Press, 1985
Opera Quota ons. Edited by Claire Lipscomb. Wa ord: Exley Publica ons Ltd, 1998
Orrey, Leslie. A Concise History Of Opera. London: Thames and Hudson Ltd, 1972
Walsh, Michael. Who’s Afraid of Opera? Simon & Schuster, 1994
REFERENCES