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  • © 2009, Matthias Horn

  • The Barber of Seville © 2013, Marcus Lieberenz

    Maurizio Muraro as Bartolo, Jana Kurucová as Rosina

  • The Barber of Seville © 2013, Marcus Lieberenz

    Jana Kurucová as Rosina, Etienne Dupuis as Figaro, Hulkar Sabirova as Berta

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva, Etienne Dupuis as Figaro et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva, Etienne Dupuis as Figaro, Jana Kurucová as Rosina

  • The Barber of Seville © 2013, Marcus Lieberenz

    Maurizio Muraro as Bartolo, Arutjun Kotchinian as Basilio

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Arutjun Kotchinian, Maurizio Muraro, Hulkar Sabirova, Jana Kurucová, Matthew Newlin, Etienne Dupuis et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Scene impression

  • The Barber of Seville © 2013, Marcus Lieberenz

    Jana Kurucová as Rosina, Maurizio Muraro as Bartolo, Arutjun Kotchinian as Basilio, Hulkar Sabirova as Berta, Matthew Newlin as Almaviva

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva, Etienne Dupuis as Figaro

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva, Jana Kurucová as Rosina, Arutjun Kotchinian as Basilio, Etienne Dupuis as Figaro

  • The Barber of Seville © 2013, Marcus Lieberenz

    Maurizio Muraro as Bartolo, Matthew Newlin as Almaviva, Jana Kurucová as Rosina

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almavia, Jana Kurucová as Rosina

  • The Barber of Seville © 2013, Marcus Lieberenz

    Etienne Dupuis as Figaro et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Etienne Dupuis as Figaro, Maurizio Muraro as Bartolo et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Etienne Dupuis as Figaro et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Etienne Dupuis as Figaro, Jana Kurucová as Rosina

  • The Barber of Seville © 2013, Marcus Lieberenz

    Arutjun Kotchinian as Basilio, Jana Kurucová as Rosina, Matthew Newlin as Almaviva

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva, Etienne Dupuis as Figaro

  • The Barber of Seville © 2013, Marcus Lieberenz

    Hulkar Sabirova, Maurizio Muraro, Etienne Dupuis, Matthew Newlin, Jana Kurucová et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Maurizio Muraro, Hulkar Sabirova, Jana Kurucová, Matthew Newlin, Etienne Dupuis et al.

  • The Barber of Seville © 2013, Marcus Lieberenz

    Maurizio Muraro as Bartolo, Jana Kurucová as Rosina

  • The Barber of Seville © 2013, Marcus Lieberenz

    Matthew Newlin as Almaviva, Etienne Dupuis as Figaro, Jana Kurucová as Rosina

/24
ADAPTED SCENE!

The Barber of Seville

Gioacchino Rossini (1792 – 1868)
Sat 13.01.2018 / 19:30 h / C-Prices: € 95,– / 76,– / 53,– / 29,– / tickets / Last performance this season, Family Performance

Ladies and gentlemen, we are delighted to inform you that our combined efforts are making an impact. The artists and staff members are ready to start semi-staged performances. Ticket holders who do not wish to participate in these performances can request a refund. If you require further information, please call the ticket service: 030-34384 343. Advance sale of tickets will resume immediately. We will keep you informed about when we will be able to restart fully staged performances. We apologize for any inconvenience. The tickets will be reimbursed. Please use this form and send it, together with your tickets, to: Deutsche Oper Berlin - Ticketservice, Richard-Wagner-Straße 10, 10585 Berlin. You can also scan your tickets and send the scan and the form via email to info@deutscheoperberlin.de. Customers who bought their tickets online at eventim.de or via a ticket reseller are asked to contact eventim.de or the ticket reseller. If you have any question, please don't hesitate to contact us via telephone +49 (0)30-34384 343.

Melodramma buffo in two acts
Libretto by Cesare Sterbini, based on a drama by Pierre-Augustin Caron de Baumarchais
First performed on 20. February, 1816 in Rome
Premiered at the Deutsche Oper Berlin on 29. November, 2009

In Italian language with German and English surtitles

3 hrs / 1 interval

Pre-performance lecture (in German): 45 minutes prior to each performance

The Concert Programme

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)