Unsere Datenschutzrichtlinien wurden am Montag 24 Juni 2019 aktualisiertMehr InformationenOK
Anmelden
Bachtrack logo
Home
Termine
Kritiken
Artikel
Video
Seite
Startseite Oper
TermineKritikenArtikel

Il barbiere di Siviglia

PlanKartenverkaufWunschliste
Deutsche OperBismarckstraße 35, Berlin, 10627, Deutschland
2019 Dezember 12, 28, 2020 Februar, März 05, April 25, 29 um 19:30
Darsteller
Deutsche Oper Berlin
Daniel CarterDirigent
Katharina ThalbachRegisseur
Momme RöhrbeinBühnenbild
Guido Maria KretschmerKostüme
Vasilisa BerzhanskayaMezzosopranRosina
Matthew NewlinTenorGraf Almaviva
Philipp JekalBaritonFigaro2019 Dez 12, 28
Samuel Dale JohnsonBaritonFigaroFeb 28, Mär 05, Apr 25, 29
Thomas LehmanBassFigaroApr 25, 29
Noel BouleyBassbaritonDr Bartolo2019 Dez 12, 28, 2020 Apr 25, 29
Biagio PizzutiBaritonDr BartoloFeb 28, Mär 05
Flurina StuckiSopranBerta
Timothy NewtonBassOffizier
Patrick GuettiBassDon Basilio
Matthew CossackBaritonFiorello
Thomas RichterChorleitung
Chor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

This turbulent tale has an aged curmudgeon intent on marrying his own ward in order to get his hands on her inheritance. He does everything he can to prevent the attractive Rosina from having contact with the outside world - and possible young lovers. Little does he know that Count Almaviva has long since fallen in love with her. By enlisting the help of the engaging, energetic barber Figaro his plan is not only to get the better of the old man and win Rosina over but also to ensure that the young woman loves him for his own sake and not for his title and fortune. No easy task for Figaro, who is pitted against a number of opponents. But in the end love conquers all and the precautions taken in the elaborate venture turns out to have been for nothing.

Pierre Augustin Caron de Beaumarchais (1732 – 1799) invented the cunning, scheming barber and made him the central figure in a trilogy of comedies, the first two parts of which – LE BARBIER DE SEVILLE OU LA PRECAUTION INUTILE (1775) and LA FOLLE JOURNEE OU LE MARIAGE DE FIGARO (1778) - are now world famous. The third part of the trilogy, L’AUTRE TARTUFFE OU LA MERE COUPABLE, which appeared in 1792, did not enjoy the success of its predecessors, conceivably due to the chaos of the French Revolution. Although the revolutionary potential of the work is best communicated by Mozart's brilliant score in the second part of the trilogy (DIE HOCHZEIT DES FIGARO,1786), the barber of the first part is likewise possessed of a lack of respect, making him predestined to head the cast of a comic opera. Giovanni Paisiello's music in the 1782 production of BARBIERE brought him wide acclaim and set a high standard for Rossini to follow as the latter went about reworking the material into a new comic opera. 34 years after Paisiello's success Rossini pulled off what remains perhaps the wittiest and peppiest opera buffa in the history of opera.

“It was Rossini through and through, his music at its loveliest in BARBIER VON SEVILLA. Those who despise Italian music and hasten to openly revile it will one day receive their just punishment in hell, perhaps condemned to listen for eternity to Sebastian Bach's fugues.” (Heinrich Heine)

Februar 2020
MoDiMiDoFrSaSo
27282930310102
03040506070809
10111213141516
17181920212223
24252627282901
02030405060708
März 2020
MoDiMiDoFrSaSo
24252627282901
02030405060708
09101112131415
16171819202122
23242526272829
30310102030405
April 2020
MoDiMiDoFrSaSo
30310102030405
06070809101112
13141516171819
20212223242526
27282930010203
04050607080910
Abendvorstellung
Matinee
Mobile version