Der Barbier von Sevilla - Schedule, Program & Tickets

Der Barbier von Sevilla

Melodramma buffo in two acts
Libretto by Cesare Sterbini after the play by Pierre Augustin Caron de Beaumarchais
World premiere on February 20, 1816 in Rome
Premiere at the Deutsche Oper Berlin on November 29, 2009

In Italian with German and English surtitles

3 hours / one break

The story is turbulent: An old Griesgram wants to marry his ward to get its considerable legacy, and takes every conceivable precaution to block the pretty Rosina the way to the outside world - and thus possible young lovers. But Count Almaviva has long since discovered his love for her. With the help of the busy barber Figaro he wants to cheat the old man, Rosina win for themselves and also make sure that not his title or wealth, but only the love leads the young woman in his arms. No easy task for Figaro, because even the opponents spare no effort ... In the end, the love wins, and it turns out that all caution was useless!

It's pretty clear that this story has a lot of potential for comedy. "But the funniest thing is music" - says director Katharina Thalbach. "I was thunderstruck by Rossini's artistry and pace. ... During the rehearsals I notice again and again, how the music drives into my legs and I involuntarily dance. This shimmers, tingles and is just fun. And this sense of life should come across as possible in our production. "In the colorful ambience of a Mediterranean seaside resort Thalbach unfolds a turbulent panopticon around the bustling Figaro, whose inventiveness at the end overcomes all obstacles.

Pierre Augustin Caron de Beaumarchais (1732 - 1799) invented the figure of the equally intriguing as well as shrewd barber and dedicated him a whole comedy trilogy, of which especially the first two parts LE BARBIER DE SEVILLE OU LA PRECAUTION INUTILE (1775) and LA FOLLE JOURNEE OU LE MARIAGE DE FIGARO (1778) became world famous. The third part, L'AUTRE TARTUFFE OU LA MERE COUPABLE, which appeared in 1792, was more behind the success of its predecessors, perhaps due to the turmoil of the French Revolution. Although the revolutionary potential of the second part of the comedy in the brilliant setting of Mozart - THE WEDDING OF FIGARO - is most clearly noticeable, the barber of the first part also has a disrespectful temperament, which predestines him as the main character of a comic opera. Giovanni Paisiello had a resounding success in 1782 with his setting of BARBIERE, so that Rossini took on a seemingly overpowering role model, when he decided to make the same subject once again the subject of a comic opera. And yet, 34 years after Paisiello's triumph, he succeeded in perhaps the funniest and fastest opera buffa in opera history.

"It was quite the Rossini way, as she reveals herself in the BARBIER OF SEVILLA the loveliest. The despisers of Italian music, who are also breaking the mold of this genre, will not escape their well-deserved punishment in hell, and may be damned to hear nothing but the fugues of Sebastian Bach for a long time. "(Heinrich Heine).

Subject to change.

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