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    Barber of Seville, The

    Santa Fe Opera


    Figaro’s back, just in the nick of time. Armed with little more than his well-honed wit, Seville’s favorite barber arranges romantic rendezvous, delivers covert communiqués, locates lovers, and even manages a few shaves from time to time. Who better than Figaro to assist Count Almaviva elopement with the lovely Rosina, right out from under the nose of Dr. Bartolo, her elderly guardian and would-be bridegroom? From overture to finale, The Barber of Seville is the summit of comic opera, Italian-style.


    Rossini's masterpiece is the pinnacle of comic opera, Italian-style.

    Act I: Count Almaviva has fallen in love from afar with Rosina. He serenades her, hoping to win her heart. The Count hides when Figaro, the ebullient barber, bursts in, boasting that he is the busiest man in the whole city. Figaro tells the Count that Rosina is kept a virtual prisoner, as the ward of the jealous Doctor Bartolo. The Count launches into another serenade, calling himself Lindoro, an impoverished student. Rosina’s attempt to communicate with “Lindoro” is thwarted and Figaro suggests that the Count disguise himself as a soldier, in order to gain entrance to the house. Rosina resolves to reject Bartolo’s marriage proposal in favor of the young student, who has deeply touched her heart. Don Basilio, Rosina’s music teacher, arrives to give her a lesson. He warns Bartolo about the return of Count Almaviva and proposes a campaign of ever-increasing slander to drive him away. Figaro, having overheard them, alerts Rosina that the Doctor plans to marry her the next day. Disguised as a drunken soldier, Almaviva arrives, demanding a night’s lodging. He argues loudly with Bartolo, meanwhile slipping a love note to Rosina. Figaro rushes in, followed by the police, whose attempt to arrest the soldier is thwarted.

    Act II: Doctor Bartolo’s pleasure at getting rid of the soldier is interrupted by the arrival of “Don Alonzo,” a music teacher substituting for the supposedly ailing Don Basilio. It is, of course, Almaviva in a new disguise. Rosina begins her lesson while Figaro begins to shave the Doctor. The hale and hearty Basilio appears, much to their surprise, but Almaviva bribes him to feign illness. Almaviva and Rosina plan to elope at midnight, but Bartolo overhears them; he sends Rosina to her room and throws Figaro and “Don Alonzo” out into the street. Bartolo persuades Rosina that Lindoro is a servant of Almaviva, who is plotting her seduction. Rosina agrees to marry Bartolo. Figaro and Almaviva arrive during a violent thunderstorm and Rosina accuses them of betrayal. Almaviva finally reveals that he is not Lindoro, but the Count, and is re-united with Rosina. Basilio arrives with the Notary, for the wedding of Bartolo and Rosina, but the Notary is just as happy to marry Rosina and Almaviva. Bartolo arrives too late and has no choice but to join in a chorus of rejoicing for the bride and groom.


    • Fiorello - Clifford Williams
    • Count Almaviva - Neil Rosenshein
    • Doctor Bartolo - Marius Rintzler
    • Doctor Bartolo - Gunter von Kannen
    • Figaro - Haakan Hagegaard
    • Rosina - Janice Hall
    • Basilio - Claude Corbeil
    • Basilio - James Morris
    • Ambrogio - Gary Prettyman
    • Berta - Jean Kraft
    • Sergeant - Wilbur Pauley
    • Zanni - John Andersen
    • Zanni - John Holyoke
    • Zanni - Chris Bowman
    • Zanni - Kenneth Sieger
    • Conductor - Raymond Leppard
    • Conductor - George Manahan
    • Director - Lou Galterio
    • Scenic Designer - Zack Brown
    • Costume Designer - Zack Brown
    • Lighting Designer - Peter Kaczorowski