The Barber of Seville, or a futile precaution

Lectures on musical literature: Rossini

The work of Rossini (1792-1868) developed at a turbulent time when backward, divided Italy, under the triple oppression of Spain, France and Austria, embarked on the path of national liberation struggle. The revolutionary atmosphere revived all spheres Italian art, including the opera house. It has become a real platform for promoting advanced ideas. A new opera school emerged that reflected these ideas. Rossini stood at its origins. Having summarized all the best in Italian opera of the 18th century, it was he who created the basis for its further fruitful development.

During his creative life, Rossini wrote 38 operas in the genres of seria and buffa. By the beginning of the 19th century, both of these genres were in a state of decline. Opera seria was in the grip of numerous outdated cliches. The public, above all, valued vocal virtuosity, so the composer had to please all the main performers. Opera buffa was more viable, but here too there was an unhealthy bias towards mindless entertainment. Thanks to Rossini, Italian opera regained its former greatness.

By nature, Rossini was unusually generously gifted: he was handsome, charming and witty, had a wonderful voice, and composed with incredible ease (“The Barber of Seville” was written in 18 days) and in any setting.

He made his debut as an opera composer in 1810 with the opera "Promissory Note for Marriage". IN short term gained enormous popularity. It was noted by Pushkin in “Eugene Onegin”: “delightful Rossini, Europe’s darling, Orpheus.” The most fruitful years of Rossini's composing activity were associated with Naples, with the San Carlo Theater. "The Barber of Seville" is written here best creation composer in the buffa genre (1816). Along with The Barber of Seville, Rossini's highest creative achievements include "William Tell". The composer created it in 1829, already living in Paris. The new masterpiece was completely different from the previous one. Based on folk legend Rossini created the first folk-patriotic opera of the Romantic era about the national hero of the Swiss people.

After William Tell, the composer did not compose another opera, although he lived for another 40 years. Among the few works created in the second half of his life, two spiritual works stand out - the Stabat Mater and the grandiose Mass.

"The Barber of Seville"- one of the best comic operas - was written in an amazingly short time for the New Year's carnival in Rome. The opera was composed and rehearsed almost simultaneously. True, the composer partially used the material of his more early works, but the originality and freshness of the opera did not suffer from this.

The basis plot laid the foundation for the first part of Beaumarchais's famous trilogy about Figaro - "The Barber of Seville or a Vain Precaution". Many operas were written on this plot before Rossini. Among them, by far the most popular was Paisiello's opera. Its success was so great that many considered Rossini’s decision to use the same plot to be impudent.

Premiere the opera failed. Paisiello's supporters organized a scandal unprecedented in the history of the opera house. Fearing being booed by the temperamental Italian public, Rossini fled after the first act. However, the very next performance, where an ordinary, open-minded audience was present, brought the new opera well-deserved success. The audience even staged a torchlight procession to the house of Rossini, who this time, just in case, did not show up for the production.

Very quickly, The Barber of Seville was recognized in other European countries, including Russia. To today this is one of the most repertoire operas. The most outstanding singers of the world took part in its performance, for example F. Chaliapin in the role of Basilio.

Libretto The opera was written by Cesare Sterbini. It differs markedly from the French original. Sometimes they write that the political tendencies of Beaumarchais's play turned out to be somewhat smoothed out in the opera. This is only partly true. The opera, indeed, does not contain the social satire of French comedy. The creators of the opera deliberately emphasized in it what seemed to them more important for the Italian public. Unlike France the day before revolutionary coup 1789, in Italy at the beginning of the 19th century, class contradictions were not so pronounced. In the national liberation movement, all classes of Italian society during this period acted together. The ideological orientation of Beaumarchais's comedy took a slightly different turn, close to Rossini. He created not an anti-feudal satire, but a satire typical of Italian theater comedy of manners. His music emphasized the comedy of the plot points, cheerful humor, and most importantly, very accurately revealed the characters’ characters and even their external habits.

The opera glorifies vitality and enterprise, the tender feelings of lovers, and ridicules hypocrisy and hypocrisy - this is its progressive meaning.

Genre opera - buffa, of which Rossini was an unsurpassed master. Here he felt most natural: it is known that creative success in the comedic field it was much easier for him than in the heroic art. Rossini's art is synonymous with fun and easy wit in music. The incredible speed with which The Barber of Seville was written reflected happy correspondence between the nature of the composer's talent and the chosen plot, its images and genre. They seem made for each other.

Rossini emphasized national traditions operasbuffa:

1 . Typical everyday conflict and images characters, reminiscent of the heroes of an Italian folk comedy: the happiness of a couple in love is hampered by a boring guardian who dreams of a considerable inheritance for his pretty ward. He is helped by an old friend - a petty scoundrel and hypocrite. And on the side of the lovers is a clever and resourceful servant, similar to many smart servants who are much more enterprising than their masters (such as Truffaldino from Goldoni’s comedy “The Servant of Two Masters”). I also remember the characters of the first buffa opera - “The Maids and Mistresses” by Pergolesi. Clear lines can be drawn from Serpina to Rosina, from Uberto to Bartolo.

2 . It is traditional to alternate song numbers (solo and ensemble) with secco recitatives.

3 . The typical buffa 2-act structure with characteristic final ensembles and the rapid dynamics in the development of the action are also preserved: events unfold with extraordinary speed, there is nothing superfluous, everything leads to the goal. Rossini knew how to structure the action in such a way that the listener’s interest did not weaken for a minute, growing all the time, it was not for nothing that he was called the “maestro of crescendo.”

4 . From tradition comic opera the nationality is also coming musical language, reliance on genre and everyday forms (from tarantella to waltz). The finale is the melody of the Russian folk song “And it was time to fence the garden.”

At the same time, the composer not only repeated the traditional techniques of the old buffa opera, but updated and enriched them. His great merit was transferring Mozart's operatic achievements to Italian soil.

Rossini adored Mozart and collected a collection of his portraits. He is famous for saying: “Beethoven is the first of all for me, but Mozart is the only one.” In one of Mozart's portraits, Rossini wrote: "He was an idol in my youth, despair in maturity and consolation in old age."

The main thing that Rossini borrows from Mozart is mastery of the opera ensemble.

1 . The ensemble, like the recitative, becomes the focus of the action. A striking example such an effective ensemble is finalIactions. Typically buffoonish, it is filled with a lot of confusion and misunderstandings: Almaviva, dressed in a cavalry costume, comes to Dr. Bartolo’s house and causes a real brawl. An incredible turmoil begins, built on the gradual inclusion of all the characters, and at the same time everything fits into an impeccably harmonious form.

2 . And just like Mozart, even in a complex ensemble interweaving of voices, the characters of the characters are clearly distinguished. In the same finale of Act I, each of the heroes receives an individual characterization: Almaviva’s appearance is accompanied by an exaggeratedly loud, parodic march; Basilio is characterized by comic solfege, Figaro by dance rhythms.

Virtuoso solo singing dominates in The Barber of Seville. Rossini never abandoned the main “weapon” of the Italian opera theater - all parts of the opera are saturated with virtuosity. However, with amazing skill he managed balance decorative beginning with an expressive, psychological: coloratura is not an end in itself, it serves to create bright musical portraits actors.

The main characteristics Figaro- “bubbling” cheerfulness and inexhaustible optimism. Rossini based his musical character on lively danceability and energetic marching. His part is dominated by fast tempos and clear rhythms. All the main properties of Figaro’s character are contained in his very first issue - the famous Cavatina from picture I. It resembles a temperamental, fiery Italian tarantella: elastic, emphatically pulsating rhythm; non-stop patter in the vocal part (technically very complex), rapid movement.

Despite the fact that the play is French and the action takes place in Spain, the image of Figaro can be considered a very striking manifestation of the national principle in music. If you put Rossini's Figaro next to Mozart's, it is not difficult to clearly sense the difference in their characters. Figaro Rossini has a real southern temperament, he speaks incessantly, and in this rapid patter one can hear the intonations of temperamental Italian speech.

In form, cavatina is a free composition based on several themes, the implementation of which does not follow any traditional schemes. The orchestra plays a huge role.

Throughout the opera, Figaro appears in different situations, interacting with other characters. New touches appear to complement this image, but they hardly change it qualitatively.

Rosina- not only an “imaginary simpleton”, as in Paisiello’s opera, but a girl fighting for her happiness. Rossini emphasized the new function of the chief female image, entrusting the role of Rosina to a coloratura mezzo-soprano. Rosina is beautiful, cheerful, and although she is confined within four walls by her guardian, woe to anyone who angers her. In her very first aria, she declares that she is meek only to certain limits. If Rosina wants something, she will be able to insist on her own.

Rosina's main number is her cavatina from the 2nd picture “In the Silence of Midnight”, which contains characteristics of different aspects of her appearance. It has 3 parts: I - cantilenna, light - conveys the dreaminess of the girl; II is based on graceful danceability (“I’m so resigned”); Part III (“But offend yourself”) sparkles with virtuosity.

Graph Almaviva - a lyrical character, a young and ardent lover, and not a dissolute feudal lord, as in the comedy of Beaumarchais. The basis of its characteristics is the lyrical cantilena, decorated with virtuosic flourishes that are typical of the bel canto style. These, first of all, are both “serenades” performed by Almaviva under Rosina’s windows in the 1st scene: cavatina “Soon the east will shine brightly with golden dawn” (first portrait characteristic this character) and the canzone “If you want to know.” Their music is close to lyrical Italian songs: rounded, flexible intonations, verse form.

In the future, it was Almaviva who was associated with the “dressing up” scenes typical of the buffa genre. He appears either as a drunken soldier (finale of Act I), or as a bachelor - a singing teacher, a student of Don Basilio (duettino with Bartolo at the very beginning of Act II), or in his true capacity as a rich aristocrat (at the end of the opera). For each of the reincarnations, Rossini finds its own “zest”, an expressive bright touch. Thus, Almaviva the soldier is characterized by a comedic and militant march. Almaviva, a young priest, pesters Bartolo, repeating short psalmodic remarks in different ways. Almaviva - a noble nobleman is endowed with a brilliant virtuoso aria.

In the characteristics negative characters Rossini's wit sometimes takes on satirical forms. Such is the famous aria about the slander of Don Basilio, which contains a whole philosophy of life (praise of meanness). It is based on the gradual growth of one topic. Insinuating at first, the melody, carefully creeping upward, seems to “swell” with each performance. It is accompanied by a steady dynamic and orchestral crescendo, reaching thunderous peals at the climax (“and like a bomb exploding”). Basilio, presenting his “theory of slander,” is absolutely serious, like the hero of an opera seria, but in this situation his ardor produces a comedic effect. Like Figaro's cavatina, the libel aria is freely constructed.

Bartolo is characterized mainly in ensemble numbers and a small arietta, stylized as an old cutesy love song.

Given the leading role of the vocal element in The Barber of Seville, the importance of the orchestral part is exceptionally great. The orchestra helps to emphasize the comedy of a particular situation, clarify the subtext, and make the character’s characteristics more expressive. The main orchestral number of the opera is a picture of a thunderstorm from 4 scenes.

Among them: “Italian in Algeria”, “Othello”, “Cinderella”, “The Thieving Magpie”, “Moses in Egypt”.

Rossini lived in Paris from 1824. After the composer's death, his ashes were transported to his homeland, buried in Florence next to Michelangelo and Galileo.

The 4 sections of the finale are reminiscent of the 4 parts in character, tempo and tonality ratios sonata-symphonic cycle. IN fast I“part” the main action takes place - the Count, Bartolo, Rosina, Basilio appear. Part II, like the scherzo, is playful and fast-paced. This is Figaro’s way out, who supposedly wants to calm everyone down, but as a result of his actions, a military patrol comes to the house. What follows is a moment of general amazement - like the slow, melodious III movement. The final section, where everyone comes to their senses and expresses conflicting feelings, serves as a quick finale.

In modern productions, her role is performed by a coloratura soprano.

FIRST ACTION
At dawn, musicians gather near Dr. Bartolo's house. They were hired by Count Almaviva to accompany his serenade to Rosina, the doctor's pupil. Alas, there is no answer to the serenade. The Count releases the musicians. The barber Figaro appears, long familiar to the count for his cunning and dexterity. Having learned that the count is in love with Rosina, the barber undertakes to help him - after all, Figaro enters Bartolo's house, where he is a barber, a doctor, and even a botanist. On Figaro's advice, the Count begins to sing again. Declaring his love, he calls himself Lindor. Rosina picks up the melody, but her singing is interrupted - obviously someone disturbed her.

Dr. Bartolo comes out of the house. He goes to the notary to quickly marry Rosina. Otherwise, the girl's dowry will leave his hands. Almaviva understands that there is no time to delay. Having received a generous advance from the count, Figaro instantly comes up with one cunning plan after another. Rosina is fascinated by the ardent and courteous young man who calls himself Lindor. She asks Figaro, who arrived so timely, about him. By the way, she already has a letter ready, which Figaro will give to Lindor.

Bartolo fears that his plans may fall apart. His anxiety is heightened by Don Basilio, the music teacher. He reports that Count Almaviva, in love with Rosina, has appeared in Seville. To get rid of his rival, Don Basilio suggests resorting to a proven weapon - slander. Fortunately, Figaro finds out about the plot.

Almaviva appears at the house, disguised as a soldier. He pretends to be drunk and demands an apartment to stay. The erupted scandal ends only with the arrival of the guard. They are going to take the annoying soldier into custody, but after a short dialogue between Almaviva and the chief of guard, the arrest is canceled.

SECOND ACT
Almaviva, in disguise, comes to Dr. Bartolo's house again. This time he introduces himself as the musician Don Alonso, a student of the ill Don Basilio. To confirm his words, he shows Rosina’s letter to Lindor, allegedly intercepted by him.

The "music lesson" begins. Figaro arrives to shave the doctor. Suddenly Don Basilio appears. The count's general persuasion and money convince him that he is really ill. Don Basilio goes home.

Bartolo does not give the lovers the opportunity to say a word to each other in private. Figaro tries to distract the doctor's attention, but he still notices that Rosina and her teacher are busy with more than just singing. The imaginary Don Alonso is expelled from the house. Bartolo decides not to delay his marriage to Rosina for a minute. He sends the recovered Don Basilio for a notary, and meanwhile he convinces the girl that Lindor is not who he claims to be. According to Bartolo, this is only a figurehead acting in the interests of Count Almaviva. In desperation, Rosina is ready to marry her guardian.

A thunderstorm breaks out. Figaro and Almaviva enter the house. They explain to Rosina that Lindor is Count Almaviva. Now Rosina can marry her beloved. Figaro convinces the notary, brought by Don Basilio, to formalize the marriage of Count Almaviva and Rosina.

Show summary

D. Rossini opera “The Barber of Seville”

“The Barber of Seville” is a bright comedy opera by Rossini, based on the play of the same name by the famous playwright Beaumarchais. The work captivates with its wit, virtuosic vocal performances and unexpected plot twists inherent in the traditional Italian opera style. The opera is full of funny adventures, intrigue and emotions, and the music is full of grace, freshness and rapid temperament.

“The Barber of Seville” is a melodic work that celebrates tender love, activity and resourcefulness; the opera has great social significance, since it ridicules pretense, promiscuity and bigotry.

Summary

Night in the Spanish city of Seville. The loving Count Almaviva, surrounded by musicians, sings a serenade at the balcony of the beautiful Rosina. A nobleman hides his noble title under the costume of a simple bachelor in order to win a pure, selfless love young girl. The Count's efforts are useless, since Rosina is under the strict control of her guardian, Dr. Bartolo. The old man is incredibly greedy, and keeps his unfortunate pupil imprisoned so that he can later marry her and receive a considerable dowry.

Suddenly, his old acquaintance, the merry fellow Figaro, approaches the count. The joker promises to keep Almaviva's secret and tells his story to the sad lover. Figaro lost his position as a veterinarian due to his literary fame and, due to increased competition in the creative environment, the cheerful writer is forced to turn into a traveling barber.

Figaro's worldly wisdom and wit charms and inspires incredible deeds, so enterprising comrades decide to resort to cunning. Having learned about Bartolo's temporary absence, Almaviva again sings a love serenade and this time introduces himself as a certain Lindor. Rosina is favorable to the stranger, however, hearing footsteps in the house, she hastily leaves.

Now the action is unfolding more rapidly. According to the comrades' plan, Almaviva should play the role of a drunken soldier assigned to guard Bartolo. Figaro, being a barber and an experienced doctor, enters the house of the jealous Bartolo. The entertainer will have to distract the servants.

Bartolo's house. Rosina, in love, writes a love letter to the mysterious young man Lindor. Don Basilio informs Bartolo of Almaviva's passionate feelings for his pupil. Having learned the unpleasant news, the elderly womanizer locks the girl in the room to keep the situation under control.

Almaviva appears in the guise of a drunken soldier. Bartolo refuses to accept the stranger as a lodger, as a result of which a quarrel breaks out. Hearing loud screams, an officer enters the house with the intention of arresting the violent insolent. However, upon hearing his name from the count, the officer leaves.

The next time Almaviva appears before Bartolo in the guise of a music teacher, temporarily replacing Basilio. During class, the “teacher” sings with Rosina, but Bartolo does not like this duet. Suddenly Figaro arrives and offers the doctor a shave. While Bartolo is busy with a hygiene procedure, the Count convinces his beloved to run away with him. Basilio appears, but Almaviva, unnoticed by everyone, bribes the teacher and invites him to go home “to recover.” Bartolo senses the deception and drives out the cunning people.

Second floor of Bartolo's house. The Count in love, accompanied by Figaro, enters the house through the window; Almaviva shows his true face to his beloved and persuades her to escape. The doctor foresaw such a course of events, he removed the stairs along which the friends climbed to his pupil, and went for a lawyer to immediately become engaged to her.

Basilio and the notary appear at Bartolo's house. The Count bribes both of them to marry the girl before the doctor arrives. The wedding took place. An enraged Bartolo returns along with the guard. Having seen the marriage contract, the old man resigns himself to his fate. Almaviva announces his young wife’s renunciation of the dowry and, to the solemn tunes of the aria of reconciliation, the performance ends.

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Interesting facts

• Pierre Augustin Caron de Beaumarchais wrote a series of three works about "Figaro": "The Barber of Seville", " The Marriage of Figaro" and "Criminal Mother". Later, the entire trilogy was transferred to the opera stage.
• The work “The Barber of Seville” according to Rossini differs significantly from the original. Unlike Bormache's comedy, written in the French pre-revolutionary style, the composer's libretto does not contain rhetorical philosophy and political satire. Rossini's "Barber" is the embodiment of a democratic national theater with naive humor, fun and comedy. The image of the decisive Rosina is somewhat softened, and the self-confident Count Almaviva appears before the viewer as a traditional lyrical hero.
• “The Barber of Seville” is one of the first operas staged by the Bolshoi Theater after the evacuation during the Great Patriotic War. However, the preference of foreign opera to the detriment of domestic musical works became a reason for condemnation of the theater management and significant personnel changes.
• Initially, the opera “The Barber of Seville” had a different title: “Almaviva or Vain Precaution.”
• During the premiere of the opera, ill-wishers condemned the author. In addition, a number of unpleasant accidents seemed to contribute to its failure. So, Don Basilio injured himself on stage during a fall, Almaviva broke a string while performing a serenade, and at some point a cat unexpectedly appeared on stage. During the next performance, the auditorium was overcrowded. The public wanted to be entertained and see the cascade of absurdities again. However, this time the performance literally amazed the audience, who loudly applauded each aria. Rossini was proud of the success of The Barber and said that his opera was loved even by the most ardent opponents of operatic innovations.

• Thanks to the cartoon "Rabbit of Seville" released by Warner Bros. in 1950, television viewers were able to hear the overture from the opera on their television screens, which made Gioachino Rossini's music even more popular.
• Italian composer Giuseppe Verdi was delighted with the brightness of the ideas and sound of Rossini's opera, considering it the best musical work in the style of opera buffa.
• At the end of the work, the melody of an old Russian folk song sounds: “Oh, why fence the garden.” Of course, the rhythm of the song has been changed, but you can recognize the Russian melody from the motive.
• "The Barber of Seville" is one of the most famous operas Rossini. Thanks to this work Italian composer won European fame, and his penchant for inspired song melodies became the basis for the honorary title of “Italian Mozart" Rossini with youth admired the talent of the great Austrian composer; while writing his works, he transferred Mozart’s achievements to performing arts Italy, borrowed the skills of the opera ensemble. Therefore, the opera buffa “The Barber of Seville” contains not only traditional opera techniques, it is also enriched with innovations and advanced ideas. Rossini's cheerful character was also admired by Heinrich Heine, who called the composer the "Divine Maestro".

Popular arias and numbers:

Overture (listen)

Cavatina Figaro "Largo al Factotum" (listen)

Cavatina Rosina "Una voce poco fa" (listen)

Rosina's aria (lesson scene) "Contro un cor" (listen)

Bertha's aria "Il vecchietto cerca moglie" (listen)

Almaviva's canzona "Se il mio nome saper voi" (listen)

History of creation

The Barber of Seville has an interesting backstory. According to the contract with the Roman theater, Gioachino Rossini undertakes to write a new opera. Musical piece dedicated to the carnival. All the libretto options provided did not withstand the criticism of the censors, so on the eve of the holiday, the famous playwright remembered the comedy play by Bormashe, which was repeatedly performed on the Italian stage. In order not to disrupt the signed contract, Rossini decides to take the plot of a famous work as a basis. Having received permission from the censors, the composer set to work.

It took the musician only 20 days to create a comedy opera based on the first part of the famous trilogy.

The premiere took place on February 12, 1816. The first production was a fiasco and was booed by an indignant audience. The fact is that a masterpiece opera based on the plot of Bormasche’s play has already been created by the respected Italian composer Paisiello. The audience considered the writing of another opera with a similar plot to be unforgivable insolence and disrespect towards the elderly playwright. Paisiello's fans created an unprecedented scandal. After the first production, the composer had to escape.

Despite the loud scandal surrounding the premiere, the opera “The Barber of Seville” was a stunning success. The unbiased public highly appreciated the work and even organized a triumphant torchlight procession to the house of Rossini, who did not dare to come to the performance.

The popularity of Rossini's The Barber of Seville exceeded any expectations. The productions were successfully staged in many European countries, and the performances involved outstanding opera singers. The composer combined the best features Italian opera and created fertile ground for further rapid development musical art. Emphasizing the traditional style of opera buffa, Rossini retained the active structure of the work with rapid dynamics, alternation of song numbers and typical everyday conflict.

Barber of Seville

But the blue evening is getting dark,

It's time for us to go to the Opera quickly:

There is delightful Rossini,

Europe's darling - Orpheus.

Not heeding harsh criticism,

He is forever the same, forever new,

He pours sounds - they boil,

They flow, they burn,

Like young kisses

Everything is in bliss, in the flame of love,

Like boiling Ai

Golden stream and splashes...

A. S. Gunsn

These enthusiastic lines from “Eugene Onegin” surprisingly accurately reflect all the charm of Rossini’s music, its youthful freshness and beauty.

Rossini was a universal idol; Not many composers gained such enormous popularity during their lifetime. “After the death of Napoleon, there was another person who was constantly being talked about everywhere: in Moscow and Naples, in London and Vienna, in Paris and Calcutta. This man’s fame is limited only by the boundaries of civilization, and he is only 32 years old.”, Stendhal, an ardent admirer of his talent, wrote about Rossini. Many were proud to know Rossini. Liszt showed him his works, Weber, Wagner, Saint-Saens sought meetings with the Italian maestro; the latter wrote in the late 1850s that “all of Paris was clamoring for the honor of being received in his luxurious apartment with high windows» . Among the visitors to his living room were famous composers: Aubert, Meyerbeer, Gounod, Thomas, Verdi. At Rossini's ceremonial evenings one could hear brilliant singers and outstanding virtuosos: Grisi, Patti, Nilsson, Tamburini, Tamberlik, Anton Rubinstein, Joachim, Thalberg. “Constant flattery surrounded the maestro,” recalled the composer Saint-Saëns, “but it did not touch him at all, for he knew its value, and towered over the environment around him by the superiority of his mind, which he showed, however, not in front of everyone.”. Sensitive and attentive contemporaries saw in Rossini a deep, insightful and observant man, with a subtle, sharp mind, keenly interested in the world around him; they saw in him a great artist who understood

new problems of art and its evolution, although defending its aesthetic ideals. I. V. Stasov reported about Rossini in a letter to Glinka: “I found in him that artistic soul, beautiful and simple...”. And R. Wagner, after a conversation with Rossini in 1860, said: “I must admit that of all the musicians I met in Paris, he is the only truly great one!”

In 1868, when Rossini died, Verdi bitterly told one of his friends: “A great name has died out in the world! It was the most popular name of our era, the widest fame - and this was the glory of Italy!”. The life and creative path of G. Rossini is as unusual as his unparalleled success: a rapid rise to the heights of fame, and then for about thirty years - almost complete silence.

Rossini's first stage work to see the light of the stage was the musical farce "The Marriage Bill". He brought fame to the young author, and soon he began to receive orders for opera buffas from the theaters of Bologna, Venice, and Milan. His music, brilliant and witty, quickly captivated the Italian public. But wide recognition came to Rossini only after the production of “Tancred” and “The Italian in Algiers” in 1813 - they made him the favorite of Northern Italy, and two years later he conquered Naples, staging the opera “Elizabeth, Queen of England” there.

In the autumn of 1815, Rossini went to Rome to work on a new opera, Torvaldo and Dorlisca, but even before its premiere, the impresario of one of the Roman theaters invited him to compose an opera buffa. The search for a plot began; Finally, the composer settled on the comedy of the famous French playwright Beaumarchais, “The Barber of Seville.” The responsibility was enormous: back in 1782, Paisiello created his opera on the same plot in St. Petersburg, and for more than three decades it was fully revered by music lovers in Italy.

The libretto of the opera was commissioned to be written by C. Sterbini. The work proceeded quickly, music was composed in parallel with the text, and in approximately nineteen to twenty days the opera was completed.

Rosina-Adeline Patti

Rosina - Montano

Rosina - Giulietta Simionato, Bartolo - Melchiore Luisa. La Scala Theater, 1952.

The librettist preserved the plot and Spanish flavor of Beaumarchais's work, but weakened its ideological orientation. From a politically sensitive play, he created a cheerful Italian comedy of manners, albeit democratic, with anti-clerical motives and clearly defined characters.

The premiere of “The Barber of Seville” took place on February 20, 1816, with outstanding singers of that time singing: Rosina - Geltrude Righetti-Giorgi (Rossini’s childhood friend), Count Almaviva - Manuel Garcia, Figaro - Luigi Zamboni. At its first performance, The Barber of Seville was a complete failure. The audience screamed and whistled... The upset composer left the theater without waiting for the end of the performance. Intrigues, and perhaps admirers of Paisiello, could not allow the recognition of a new opera created on the same plot, although Rossini, anticipating hostile attacks, at the first performances called it “Almaviva, or a Vain Precaution.” But when the passions subsided and at the next performance the audience listened carefully to all the music, they were delighted with it.

The opera continued to be performed with great success. One of the newspapers in Rome wrote: “If at the premiere “The Barber of Seville” did not meet with approval from the public, then the second time and at subsequent performances it was appreciated and aroused such enthusiasm that the whole theater shook with “Evviva!” at the address of Maestro Rossini. He was called to the stage several times and finally led home by torchlight!”. The success of The Barber of Seville eclipsed all the composer's previous triumphs. The new opera began its victorious march through many European cities: a year after the premiere it was performed in Barcelona, ​​in 1818 in London, then in Paris and Vienna, and in 1822 it was staged in St. Petersburg.

The opera takes place in Seville. The young Count Almaviva became infatuated with the lovely young Rosina and is ready to marry her. But her guardian, old Doctor Bartolo, himself intends to conclude marriage contract with his pupil. The smart, inexhaustible barber Figaro comes to the aid of the count. Thanks to his entrepreneurial spirit, young lovers achieve their happiness. The opera opens with a magnificent overture, full of fiery brilliance and energy. This overture was composed for the unsuccessful opera Aurelian in Palmyra, then the composer transferred it to Elizabeth, Queen of England. At that time, overtures were not connected by musical material with operas, and Rossini decided to use the old overture, which in its nature turned out to be close to the comedic and exciting intrigue of “The Barber of Seville”.

The main character of the opera is Figaro, an undoubted “descendant” of the smart, resourceful servants of Italian folk comedy. His first appearance on stage with an incendiary cavatina, bright, temperamental, close to the impetuous folk dance tarantella, captivates and captivates. Musical characteristics Figaro does not change throughout the action. Figaro is dexterous, energetic, mocking, and sometimes even worldly thoughtful - this is how he is in duets with the Count, Rosina or in scenes with Bartolo. True, Figaro’s energy is not directed towards any lofty goals. The barber in the opera is not endowed with deep human qualities as a hero of a comedy, there is neither bitterness of disappointment nor doubt in him, and if in Beaumarchais he is a typical native of the lower classes, striving by all means to get to a higher rung of the social ladder, then in Rossini Figaro is more unambiguous, he confidently looks forward and lives every moment of the present.

Rosina - R.G. Gorskaya.

Don Basilio - P.M. Zhuravlenko.

Leningrad Opera and Ballet Theater named after S.M. Kirov.

Count Almaviva is different from the one in Beaumarchais's comedy. He is revealed lyrically - he is an ardent lover (canzone of Act I), although as the action progresses, the count transforms himself either into a drunken soldier or into a music teacher, and then his melody from smooth and plastic becomes either “rough” or “piously-humble” "

Renaissance

The graceful, flirtatious Rosina (aria of Act II) is charming, but her graceful cantilena also has decisive intonations - she is persistent and knows how to fight for her happiness. The role of Rosina, written for contralto, is virtuosic and difficult to perform. It was her image that was subjected to the greatest criticism at the premiere: it was noted that it lacked the “naivety and modesty” of a young girl. Subsequently, the role of Rosina began to be performed by coloratura sopranos.

The least changes, compared to the comedy, were in the opera's images of Doctor Bartolo and Don Basilio - the old monk, a skilled intriguer. The guardian is presented throughout in a comedic sense - in the form of a greedy old man who serves as a target for the antics and witticisms of Figaro and the Count. It brings to mind images of the old grumps of the commedia dell'arte being fooled by the servants.

Don Basilio is superbly outlined - the embodiment of meanness and corruption; his musical characterization is close to Beaumarchais's character. The entire appearance of Basilio and the famous aria “Slander” expose the falsity of the morality of the privileged classes. The role of Don Basilio was performed with great skill by the outstanding Russian singer F. I. Chaliapin, who managed to reveal the acute grotesqueness of this image.

In The Barber of Seville, Rossini especially emphasized all the comedic aspects of the plot, which caused the inclusion of additional scenes and episodes that brightly highlight the lyrical numbers. At the beginning of the opera, he introduced a connection with the musicians, which not only gave Almaviva the opportunity to sing a wonderful serenade, but also unfold a comedic episode of reckoning with the musicians and their “noisy” gratitude. The second scene includes the scene of Almaviva appearing as a drunken soldier, and all the commotion. associated with this results in an expanded ending. The scene from the third film is wittily written: the Count, dressed as a bachelor, greets Doctor Bartolo. This insignificant episode of comedy grew into a large comic number, one of the best in the opera - the monotonous nasal voice of the bachelor and the answers of the irritated Bartolo are interrupted by an amusing patter. And if the libretto contained journalistic moments of Beaumarchais’s comedy, Rossini filled them with vitality. the realism of typical Italian images, creating a brilliant national opera buffa.

But the most amazing thing about The Barber of Seville remains the ensembles - the centers of the musical and stage action, especially the finale of the first act. It combines diverse, rapidly changing episodes; the music sensitively conveys unexpected turns of action, the behavior of the characters, and shades of mood. Rossini's operas are especially characterized by his famous crescendos - grandiose increases in sonority in ensembles. They literally hypnotized listeners. It is interesting to note that in the finale of the second act, Rossini used the melody of the Russian folk dance song “Oh, why fence the garden.”

Scene from the play.

Leningrad Opera and Ballet Theater named after S.M. Kirov

Rossini's vocal style is distinguished by integrity and richness, melodic pomp, and bright ornamentation. Rossini was a master of bel canto, that wonderful art of singing. in his words, “one of the most beautiful gifts of the Italians!”

“The Barber of Seville” was admired by music lovers and professional musicians: “... Rossini is an artist who creates under the impulse of true inspiration, imbued with an idea and who has found an expressive, elegant and charming form for this idea,” wrote the Russian music critic G. A. Laroche .

The comedies of Pierre Beaumarchais “The Barber of Seville” and “The Marriage of Figaro”, according to historians, were the forerunners French Revolution, as they were extremely relevant and written on the topic of the day. Therefore, it is not surprising that, for example, the plot of the first of these plays repeatedly became the basis for librettos for operas. In particular, in 1816, the Italian composer Gioachino Rossini wrote a similar work. “The Barber of Seville” in his version failed during the premiere. However, today some arias from this work can be heard at many concerts of popular opera music.

Biography of Rossini before 1816

Before telling how the opera “The Barber of Seville” was written, a summary of which is presented below, it is worth remembering who its author was. So, Gioachino Rossini was born in 1792 in the Italian city of Pesaro, in the family of a singer and trumpeter. His abilities in the field of music were discovered very early, and his parents immediately sent the boy to study in Bologna.

The young composer’s first opera (“The Marriage Bill”, 1810) attracted the attention of the public to him, and in the next 2 years Rossini had no shortage of orders. Then he wrote the works “Tancred” and “Italian in Algeria”, which were followed by an invitation to work for the La Scala theater.

Background to “The Barber of Seville”

In 1816, Gioachino Rossini entered into an agreement with the Roman Teatro Argentino, under which he undertook to write a new opera for the carnival. According to the practice existing at that time, the libretto had to be submitted to the censors for approval, but none of the options received approval. When there was almost no time left before the carnival, the composer remembered Beaumarchais’s comedy “The Barber of Seville,” which had already three times previously become the basis of the plot of opera performances on the Italian stage, and decided to go the already beaten path, just so as not to break the contract.

The process of creating an opera and its premiere

Immediately after receiving permission from the censors, Rossini began work and completed it in a record time of only 13 days. As for the libretto, according to which the setting of the opera is Seville, and the time is the end of the 18th century, it was written by Cesare Sterbino.

This is how the opera “The Barber of Seville” appeared, which over the almost 200 years of its existence has gone through hundreds of productions. However, the premiere of Rossini's brainchild was extremely unsuccessful. The fact is that in 1782, a work with the same plot was written by the luminary of Italian opera Giovanni Paisiello, who had a lot of fans. The appearance of a new version seemed like the last disrespect for the personality of the elderly master, and they booed the actors performing Rossini's arias. Despite the failure during the premiere, the second performance still took place, and it was conducted not by the upset author, but by the brilliant Paganini himself. The result was just the opposite, and the admiring spectators even staged a ceremony in honor of Rossini.

Overture

Not many people know that Rossini’s opera “The Barber of Seville” as it is known today is different from the original. In particular, instead of the familiar overture that precedes the appearance of the characters in the play, during the premiere the audience was offered a unique medley of Spanish folk dance melodies, which was supposed to recreate the atmosphere of Seville. What happened next was simply a detective story: before the second performance, it turned out that the score had mysteriously disappeared. Then Rossini, who had been lazy in Italy, simply rummaged through his papers and discovered an overture written for an unfinished work. From then on, it began to sound every time the next performance of the opera “The Barber of Seville” began. Moreover, the same melody in different variations had previously been used by the composer during musical performances.

“The Barber of Seville.” Summary of Act I: Scene I

Rosina lives in the house of Doctor Bartolo, with whom Count Almaviva falls in love at first sight. He invites musicians to sing a serenade under her windows. However, the girl does not go out onto the balcony, and the young man is disappointed. Then Figaro appears, a local merry fellow and barber, who is known to the count as a famous rogue. Almaviva enters into a conversation with him and asks for a reward to help him marry Rosina. Figaro happily agrees. The men begin to draw up a plan, but then Bartolo comes out of the house, talking to himself and revealing his intention to immediately marry his pupil. He leaves, and the count, convinced that this time nothing will prevent him from seeing his beloved, again sings a serenade on behalf of the singer Lindor. Rosina first answers him from the balcony, but then suddenly runs away. Figaro advises Almaviva to disguise himself as a soldier and go to Bartolo. There the count must portray a drunken man who is sure that he was sent to billet in this very house.

Events take place in Bartolo's house. Scene II begins (Act I, opera “The Barber of Seville”) with Rosina’s aria, in which the girl sings about her love for Leander. Then Bartolo comes home and a little later Basilio, the girl’s music teacher. He tells the doctor that the town is gossiping about Rosina and Almaviva as lovers. Bartolo is outraged, and Basilio sings the famous aria about slander. In the next scene, Figaro tells the girl about Leander's love and advises her to write young man letter. It turns out that Rosina has already done this, and the barber gladly takes on the duties of a postman. Bartolo guesses everything and puts the girl under lock and key.

Almaviva appears, disguised as a soldier. Despite the doctor's assurances that his house has been cleared of habitation, the Count refuses to leave and quietly makes it clear to Rosina that he is her admirer Lindor. Bartolo tries to kick out the “soldier”, who begins to make trouble. Basilio, Figaro and the maid also join in the verbal skirmish. The noise attracts the attention of the city guards, but Almaviva is not arrested as he gives his name and title to the officer.

“The Barber of Seville”: contents of scene I of act II

Almaviva appears to Bartolo in the guise of a music teacher, who supposedly came to replace the sick Basilio. Thanks to this deception, he “gives a lesson” to Rosina. Bartolo does not like their duet, who decides to show the student and the “teacher” what songs should be sung and how.

Figaro arrives and offers to shave Bartolo. While the doctor sits with soap on his face, the count negotiates with his beloved about escaping. Basilio appears unexpectedly, but Figaro, Almaviva and Rosina begin to convince him that he has a fever. The Count manages to hand the real teacher a wallet - and he goes home to “get treatment.” Bartolo begins to realize that he is being fooled and kicks everyone out except Rosina and the maid.

The orchestra performs a fragment from Rossini’s “Touchstone”. Next, the opera “The Barber of Seville” continues on the second floor of Bartolo’s house. The window opens and the Count and Figaro enter the room. Almaviva reveals his real name to Rosina, since the girl previously considered him to be the singer Lindor. Together with Figaro, he convinces her to escape. But at the last minute it is discovered that the staircase through which the young people got into the house has disappeared. As it turns out later, she was taken away by Bartolo, who went to fetch the notary.

Then the notary and Basilio arrive, summoned by Bartolo in order to register the marriage between him and Rosina. Almaviva bribes both of them and persuades them to enter into a marriage between him and the girl before Bartolo returns. The notary certifies the marriage contract, and then the doctor appears, accompanied by a guard. Bartolo is informed that nothing can be changed, and he has to come to terms with his fate, especially since Almaviva refuses his wife’s dowry. Everyone performs the final aria of reconciliation together.

The first production of “The Barber of Seville” in Russia

Throughout the 19th century, opera in Russia enjoyed extreme popularity. Moreover, specialized theaters existed not only in the capitals, but also in the provinces. For example, the first production of “The Barber of Seville” in our country was carried out in 1821 in Odessa. The performance was performed in Italian and was a great success. A year later, “The Barber of Seville,” a summary of which is known to all fans opera art, was staged in St. Petersburg. From that time on, he was constantly present in the repertoire of the Italian opera troupe Northern capital, and for several seasons Rosina’s aria was performed by the famous Pauline Viardot.

"The Barber of Seville" at the Mariinsky Theater

In 1783, Catherine the Second ordered the founding in St. Petersburg Bolshoi Theater, which was later renamed in honor of In October 1882, “The Barber of Seville” was staged there. Mariinsky Theater involved his own people in this performance best actors. Thus, the part of Bartolo was performed by F. I. Stravinsky (Stravinsky’s father), Almaviva by P. A. Lodiy, Rosina by M. A. Slavina, and Figaro by Pryanishnikov. “The Barber of Seville” was staged by the Mariinsky Theater for the second time in March 1918, with the participation of Rostovsky, Volevach, Karakash, Serebryakov, Losev, Denisov and Stepanov. In addition, there were two more productions - in 1940 and 1958. And in October 2014, the premiere of “The Barber of Seville” took place with the participation of I. Selivanov, E. Umerov, O. Pudova, V. Korotich, F. Kuznetsov and E. Sommer.

Famous performers of Rosina's aria

It just so happens that among amateurs classical music Women's arias are more popular. In particular, one of the most frequently performed is the song sung by Rosina (“The Barber of Seville”, Rossini) at the beginning of Scene II of Act I). One of the best performers is considered to be the one who managed to perfectly convey all the comedy of the situation. After all, the content of the aria is as follows: Rosina is not averse to getting married and promises to be a submissive wife, but only if her husband does not contradict her. If he doesn’t want to indulge her whims, then she promises to become a real vixen and turn his life into hell.

Regarding Russian performers this aria from the opera “The Barber of Seville”, then among them we can note A.V. Nezhdanova, V.V. Barsova, V. Firsova. In addition, this work brought wide fame to one of the brightest opera divas modernity - By the way, Rosina’s aria was also performed by an actress with undoubted singing talent Ekaterina Savinova in the film “Come Tomorrow”. This picture was a great success, and main character- - remembered by everyone.

Aria Figaro

Rossini's opera “The Barber of Seville” (a summary is presented above) is also known for its interesting roles for male voices. For example, one of the most popular is Figaro's aria. It was written for a baritone, and in it the cheerful barber boasts of his indispensability to the townspeople and lavishes praise on himself, shouting “Bravo, Figaro! Bravo, bravissimo!” Many connoisseurs of classical music even believe that it was this aria that contributed to the fact that every year dozens of opera houses The play “The Barber of Seville” is staged all over the world. Figaro has been portrayed on stage by many famous artists. Among them one cannot help but mention Muslim Magomayev, and from foreign performers- the great Italian baritone Titta Ruffo.

Other parties

Another interesting role decorating the opera “The Barber of Seville”, reviews of which performed by Fyodor Chaliapin remained extremely admiring, belongs to Basilio. It has also been performed by such famous basses as Ruggero Raimondi, Laszlo Polgar, Ferruccio Furlanetto and Paolo Montarsolo.

“The Barber of Seville” is one of the most cheerful and positive operas, which even people far from classical music enjoy listening to.