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PRODID:www.oper-in-berlin.de
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UID:69dc5295480ee
DTSTART:20260327T193000
SEQUENCE:0
TRANSP:OPAQUE
DTEND:20260327T213000
LOCATION:Deutsche Oper Berlin\, Berlin
SUMMARY:The Barber of Seville
CLASS:PUBLIC
DESCRIPTION:Rossini's BARBIER is considered the epitome of musical comedy: 
 behind the plot revolving around the resourceful Figaro\, the archetypes o
 f the Commedia dell'arte shine through again and again. This ambiguity is 
 also evident in Katharina Thalbach's fast-paced and lively production... C
 onductor: Carlo Goldstein / Anna Handler\; Director: Katharina Thalbach\; 
 with Kieran Carrel / Kangyoon Shine Lee\, Misha Kiria / Simone Del Savio\,
  Aleksandra Meteleva / Martina Baroni\, Dean Murphy / Philipp Jekal\, Patr
 ick Guetti / Volodymyr Morozov and others.\nAbout the workIt’s a rambunc
 tious tale: an old curmudgeon is set on marrying his own ward of court wit
 h a view to snapping up her considerable inheritance. He leaves no stone u
 nturned in his efforts to keep the fair Rosina cloistered from the outside
  world and thus from any potential young suitors. A pity\, then\, that Cou
 nt Almaviva has fallen head over heels for her. Assisted by Figaro\, an en
 terprising barber\, he plans to outwit the old man\, win over Rosina – a
 nd ensure that it’s love that attracts her to him rather than his rank a
 nd wealth. Not an easy job for Figaro\, seeing as the opposite camp is sch
 eming with equal tenacity … Love wins out in the end\, and it turns out 
 that all precautions were useless!\n\nPierre Augustin Caron de Beaumarchai
 s [1732 –1799] dreamt up the character of the mischievous barber and wro
 te an entire comic trilogy about him\, the first two instalments of which 
 (LE BARBIER DE SÉVILLE OU LA PRÉCAUTION INUTILE [1775] and LA FOLLE JOUR
 NÉE OU LE MARIAGE DE FIGARO [1778]) are world famous. Part 3\, L’AUTRE 
 TARTUFFE OU LA MÈRE COUPABLE [1792]\, was not such a hit\, perhaps due to
  the upheavals of the Revolution. Although the revolutionary potential was
  especially palpable in the second part\, with its brilliant soundtrack co
 urtesy of Mozart [THE MARRIAGE OF FIGARO\, 1786]\, the barber of the first
  part oozes disrespect\, which inevitably makes him the central protagonis
 t in this comic opera. Giovanni Paisiello had a runaway success with his m
 usical version of BARBIERE in 1782\, meaning that Rossini was up against a
  seemingly unassailable precursor when he resolved to compete directly wit
 h Paisiello in writing a comic opera based on the same material. And he pu
 lled it off: 34 years after his rival’s own hit show he delivered arguab
 ly the wittiest and peppiest opera buffa in the history of the genre.\n\nA
 bout the productionThe action centring on the famous hair stylist\, whose 
 brainwaves solve all the challenges in the end\, is transposed by Katharin
 a Thalbach to the cheery setting of a sun-bathed seaside resort. Engines o
 f locomotion ranging from vintage car to tractor and bicycle make their wa
 y across the stage. They include an odd-looking trolley that proceeds to r
 egurgitate all the over-the-top characters from Italian commedia. Gaggles 
 of tourists gather amongst the loungers and open-air showers to witness a 
 vibrant and supercharged show that blurs the line between small and main s
 tages\, energising the auditorium in the process. With its memorable tunes
  and world-famous arias THE BARBER OF SEVILLE is one of the supreme classi
 cs of opera and\, in Thalbach’s vivacious production featuring the plush
  costumes of Guido Maria Kretschmer\, will be an event to remember for ope
 ra novices and connoisseurs alike.
DTSTAMP:20260413T021901Z
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