BARBER OF SEVILLE
Gioachino RossiniFour Seasons Centre for the Performing Arts
Performance time is approximately two hours and 50 minutes, including one intermission.
#COCBarber
What makes The Barber of Seville so special?
From its famous overture to that infectious ‘Figaro here, Figaro there’ aria ("Largo al factotum"), The Barber of Seville is full of catchy music you already know from movies, cartoons, and more.
In this whimsical staging by Spanish theatre troupe Els Comediants, Barber's free-wheeling comedy is unleashed through exuberant carnival and circus touches, acrobatics, and pantomime in our laugh-out-loud production.
This production showcases two leading female artists who are shaking up the opera industry, including award-winning mezzo-soprano (and COC Ensemble Studio graduate) Emily D'Angelo as Rosina, as well as conductor Speranza Scappucci, "one of classical music’s brightest stars" (Opera News).
Sung in Italian with English SURTITLESTM
Download the 2020 Winter House Program.
Conductor Speranza Scappucci
Original Director Joan Font
Associate Director & Choreographer Xevi Dorca
Set & Costume Designer Joan Guillén
Lighting Designer Albert Faura
Price Family Chorus Master Sandra Horst
Figaro Vito Priante
Rosina Emily D’Angelo
Almaviva Santiago Ballerini
Bartolo Renato Girolami
Basilio Brandon Cedel
Berta Simona Genga
Fiorello Joel Allison
Officer Vartan Gabrielian
COC co-production with Houston Grand Opera, Opéra National de Bordeaux, and Opera Australia
With the COC Orchestra & Chorus
Production originally made possible by
The Catherine and Maxwell Meighen Foundation
THE STORY
Young Count Almaviva is in love with Rosina — but her older guardian Doctor Bartolo is plotting to marry her himself and keeps her locked up inside their home. The Count hires Figaro, Seville’s favourite barber and schemer, to sort out this tangled love affair.
SYNOPSIS
ACT I
Count Almaviva has fallen in love with Rosina, who he first saw in Madrid – he’s followed her all the way to a house in Seville, where she is kept by her old guardian, Doctor Bartolo. Bartolo also wants to marry Rosina so that he can claim her family wealth.
Accompanied by his servant Fiorello and some musicians, a disguised Count Almaviva arrives to serenade Rosina, but he gets no response. As daylight breaks, the barber Figaro appears and promises that he can help the Count – for a suitable reward. Serenading Rosina again, the Count claims to be a poor man named “Lindoro” because he wants Rosina to love him for himself rather than his money. Figaro comes up with an idea: the Count should pretend to be a soldier assigned to Doctor Bartolo’s household to force his way inside the closely guarded home.
Meanwhile, Rosina has been stirred by the Count’s lovely serenade; she’s determined to find the man behind the voice. Bartolo enters with the music master Basilio, who warns him that Count Almaviva is a rival for Rosina. Bartolo decides to marry Rosina right away, but Figaro overhears and warns Rosina. He promises to carry a letter from her to her beloved “Lindoro”.
Bartolo can tell something is afoot and tries to get Rosina to admit she has written to a suitor. Suddenly the Count, disguised as a drunken soldier, bursts in and passes Rosina a note, which she hides. A loud quarrel ensues when Bartolo claims he’s exempt from having soldiers assigned to his household. As a curious crowd forms outside, police try to take the troublemaker into custody, but the Count confides his true identity to the Sergeant, who lets him go amidst pandemonium.
ACT II
Bartolo suspects the intruder was a spy sent by Count Almaviva, who once again appears in disguise – this time as Alonso, a music teacher substituting for a supposedly sick Basilio. “Alonso” claims he is staying at the same inn as the Count and that he has found a letter there from Rosina. He offers to tell Rosina that her beloved is cheating on her with another woman. Reassured, Bartolo allows “Alonso” to give Rosina her singing lesson. Bartolo still plans to observe the lesson, but Figaro arrives to shave him and even manages to steal the key to the upstairs balcony.
Rosina recognizes “Alonso” as her serenader “Lindoro”, who proposes to her. But as the shaving is about to begin, Basilio appears, which threatens to unravel the whole scheme. The Count quickly bribes him to play sick and rushes him out of the house.
Figaro shaves Bartolo, distracting him while the lovers make their plans to elope, but Bartolo overhears the word “disguise” and sends for Basilio. After everyone has left, the maid Berta wanders in and complains that she is working in a madhouse.
Bartolo realizes that “Alonso” is actually Count Almaviva in disguise. To outplay his rival, he decides to marry Rosina that very night. Bartolo shows her a note that says “Lindoro” has deceived her and plans to win her for his master, the Count Almaviva. Rosina, feeling betrayed, agrees to marry Bartolo instead. She also tells him that Figaro and “Lindoro” plan to enter the house by way of the balcony, using the key that Figaro stole.
Figaro and the Count come in through the window, only to be spurned by Rosina, who accuses “Lindoro” of wooing her for his master Count Almaviva. “Lindoro” reveals his true identity as the Count himself, which delights Rosina. They try to escape together, but realize Bartolo has thwarted their plan by removing the ladder from the balcony. Basilio enters with a notary to finalize the marriage between Rosina and Bartolo, but he is swayed by a bribe from the Count, who signs the marriage contract with Rosina instead.
Rosina is free at last – young love has won the day!
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(Top to bottom, left to right): All production photos from the Canadian Opera Company's Barber of Seville, 2020; Santiago Ballerini as Count Almaviva (far right) with the COC Chorus; Vito Priante as Figaro; Santiago Ballerini as Count Almaviva and Emily D'Angelo as Rosina; Emily D'Angelo as Rosina, Joel Allison as Fiorello, Santiago Ballerini as Count Almaviva and Vito Priante as Figaro. All photos: Michael Cooper.
Your Guide to Rossini's The Barber of Seville
There’s a reason this comedy has stood the test of time! The Barber of Seville is an infectious comic opera with genuine laughs. Rooted in the commedia dell’arte street theatre tradition, with zany stock characters and over-the-top scenarios, the addition of carnival and circus traditions adds a lot of extra fun!
Trailer | Rossini's The Barber of Seville, January 2020
Opera's biggest comedy is back in Toronto.
Hear it First: Figaro's Aria | Vito Priante & Michael Shannon, January 2020
"Figaro! Figaro! Figaro!" Step into the rehearsal room for Figaro's most famous aria, "Largo al factotum," with baritone Vito Priante and accompanist Michael Shannon.
Speranza Scappucci on conducting The Barber of Seville, January 2020
Speranza Scappucci talks conducting, navigating Rossini's challenging score, and working with our "top class" COC Orchestra.
The Barber of Seville: "Una voce poco fa" | Emily D'Angelo, August 2019
This aria has been winning mezzo-soprano Emily D'Angelo competitions all around the world. In January, she brings it home to Toronto for THE BARBER OF SEVILLE.
Inside the Concept Discussion: The Barber of Seville at the COC, March 2015
"A sneak peek at the Canadian Opera Company's upcoming production of The Barber of Seville, led by Spanish theatre troupe Els Comediants. Director Joan Font and associate director Tanya Kane-Parry talk about the characters in Barber, and their basis in the Commedia dell'arte." Schmopera
Joshua Hopkins transforms into Figaro, April 2015
"Joshua Hopkins transforms into Figaro for the Canadian Opera Company's production of The Barber of Seville." Toronto Star
Rossini’s The Barber of Seville. Teresa Berganza (Rosina), Hermann Prey (Figaro), Luigi Alva (Almaviva). Claudio Abbado, conductor, with the London Symphony Orchestra, 1972. Deutsche Grammophon
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Sung in Italian with English SURTITLESTM
Download the 2020 Winter House Program.
CAST AND CREATIVE TEAMS
Conductor Speranza Scappucci
Original Director Joan Font
Associate Director & Choreographer Xevi Dorca
Set & Costume Designer Joan Guillén
Lighting Designer Albert Faura
Price Family Chorus Master Sandra Horst
Figaro Vito Priante
Rosina Emily D’Angelo
Almaviva Santiago Ballerini
Bartolo Renato Girolami
Basilio Brandon Cedel
Berta Simona Genga
Fiorello Joel Allison
Officer Vartan GabrielianCOC co-production with Houston Grand Opera, Opéra National de Bordeaux, and Opera Australia
With the COC Orchestra & Chorus
Production originally made possible by
The Catherine and Maxwell Meighen Foundation -
THE STORY
Young Count Almaviva is in love with Rosina — but her older guardian Doctor Bartolo is plotting to marry her himself and keeps her locked up inside their home. The Count hires Figaro, Seville’s favourite barber and schemer, to sort out this tangled love affair.
SYNOPSIS
ACT I
Count Almaviva has fallen in love with Rosina, who he first saw in Madrid – he’s followed her all the way to a house in Seville, where she is kept by her old guardian, Doctor Bartolo. Bartolo also wants to marry Rosina so that he can claim her family wealth.
Accompanied by his servant Fiorello and some musicians, a disguised Count Almaviva arrives to serenade Rosina, but he gets no response. As daylight breaks, the barber Figaro appears and promises that he can help the Count – for a suitable reward. Serenading Rosina again, the Count claims to be a poor man named “Lindoro” because he wants Rosina to love him for himself rather than his money. Figaro comes up with an idea: the Count should pretend to be a soldier assigned to Doctor Bartolo’s household to force his way inside the closely guarded home.
Meanwhile, Rosina has been stirred by the Count’s lovely serenade; she’s determined to find the man behind the voice. Bartolo enters with the music master Basilio, who warns him that Count Almaviva is a rival for Rosina. Bartolo decides to marry Rosina right away, but Figaro overhears and warns Rosina. He promises to carry a letter from her to her beloved “Lindoro”.
Bartolo can tell something is afoot and tries to get Rosina to admit she has written to a suitor. Suddenly the Count, disguised as a drunken soldier, bursts in and passes Rosina a note, which she hides. A loud quarrel ensues when Bartolo claims he’s exempt from having soldiers assigned to his household. As a curious crowd forms outside, police try to take the troublemaker into custody, but the Count confides his true identity to the Sergeant, who lets him go amidst pandemonium.
ACT II
Bartolo suspects the intruder was a spy sent by Count Almaviva, who once again appears in disguise – this time as Alonso, a music teacher substituting for a supposedly sick Basilio. “Alonso” claims he is staying at the same inn as the Count and that he has found a letter there from Rosina. He offers to tell Rosina that her beloved is cheating on her with another woman. Reassured, Bartolo allows “Alonso” to give Rosina her singing lesson. Bartolo still plans to observe the lesson, but Figaro arrives to shave him and even manages to steal the key to the upstairs balcony.
Rosina recognizes “Alonso” as her serenader “Lindoro”, who proposes to her. But as the shaving is about to begin, Basilio appears, which threatens to unravel the whole scheme. The Count quickly bribes him to play sick and rushes him out of the house.
Figaro shaves Bartolo, distracting him while the lovers make their plans to elope, but Bartolo overhears the word “disguise” and sends for Basilio. After everyone has left, the maid Berta wanders in and complains that she is working in a madhouse.
Bartolo realizes that “Alonso” is actually Count Almaviva in disguise. To outplay his rival, he decides to marry Rosina that very night. Bartolo shows her a note that says “Lindoro” has deceived her and plans to win her for his master, the Count Almaviva. Rosina, feeling betrayed, agrees to marry Bartolo instead. She also tells him that Figaro and “Lindoro” plan to enter the house by way of the balcony, using the key that Figaro stole.
Figaro and the Count come in through the window, only to be spurned by Rosina, who accuses “Lindoro” of wooing her for his master Count Almaviva. “Lindoro” reveals his true identity as the Count himself, which delights Rosina. They try to escape together, but realize Bartolo has thwarted their plan by removing the ladder from the balcony. Basilio enters with a notary to finalize the marriage between Rosina and Bartolo, but he is swayed by a bribe from the Count, who signs the marriage contract with Rosina instead.
Rosina is free at last – young love has won the day! -
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(Top to bottom, left to right): All production photos from the Canadian Opera Company's Barber of Seville, 2020; Santiago Ballerini as Count Almaviva (far right) with the COC Chorus; Vito Priante as Figaro; Santiago Ballerini as Count Almaviva and Emily D'Angelo as Rosina; Emily D'Angelo as Rosina, Joel Allison as Fiorello, Santiago Ballerini as Count Almaviva and Vito Priante as Figaro. All photos: Michael Cooper. -
Your Guide to Rossini's The Barber of Seville
There’s a reason this comedy has stood the test of time! The Barber of Seville is an infectious comic opera with genuine laughs. Rooted in the commedia dell’arte street theatre tradition, with zany stock characters and over-the-top scenarios, the addition of carnival and circus traditions adds a lot of extra fun!
-
Trailer | Rossini's The Barber of Seville, January 2020
Opera's biggest comedy is back in Toronto.
Hear it First: Figaro's Aria | Vito Priante & Michael Shannon, January 2020"Figaro! Figaro! Figaro!" Step into the rehearsal room for Figaro's most famous aria, "Largo al factotum," with baritone Vito Priante and accompanist Michael Shannon.
Speranza Scappucci on conducting The Barber of Seville, January 2020Speranza Scappucci talks conducting, navigating Rossini's challenging score, and working with our "top class" COC Orchestra.
The Barber of Seville: "Una voce poco fa" | Emily D'Angelo, August 2019This aria has been winning mezzo-soprano Emily D'Angelo competitions all around the world. In January, she brings it home to Toronto for THE BARBER OF SEVILLE.
Inside the Concept Discussion: The Barber of Seville at the COC, March 2015"A sneak peek at the Canadian Opera Company's upcoming production of The Barber of Seville, led by Spanish theatre troupe Els Comediants. Director Joan Font and associate director Tanya Kane-Parry talk about the characters in Barber, and their basis in the Commedia dell'arte." Schmopera
Joshua Hopkins transforms into Figaro, April 2015"Joshua Hopkins transforms into Figaro for the Canadian Opera Company's production of The Barber of Seville." Toronto Star
-
Rossini’s The Barber of Seville. Teresa Berganza (Rosina), Hermann Prey (Figaro), Luigi Alva (Almaviva). Claudio Abbado, conductor, with the London Symphony Orchestra, 1972. Deutsche Grammophon
2019/2020 season creative: BT/A; photo: Theshlen Naidoo
