IL BARBIERE DI SIVIGLIA

Biography

A kaleidoscope of disguises, midnight serenades, hilarious misunderstandings and some of the most beloved melodies in opera.
Il Barbiere di Siviglia, famously composed by Gioachino Rossini in just a dozen days, premiered at Rome’s Teatro Argentina on 20 February 1816. The opening night was one of the most notorious flops in operatic history—possibly orchestrated by admirers of Giovanni Paisiello, who resented seeing the young composer tackle a subject already set by the older master. Ironically, the fiasco only fueled the unstoppable popularity of what would become a timeless masterpiece.
The quintessential comic opera is presented here in the acclaimed production by Damiano Michieletto, one of the most celebrated opera directors on the international stage.
Michieletto’s lively and inventive Barber—consistently praised by both audiences and critics—begins as a train journey, announced over a station loudspeaker. It is a playful invitation to travel “through” Rossini’s opera, evoking its places and situations through imagination rather than realism.
Whimsical costumes and vivid colors transform the characters into caricatures reminiscent of the Commedia dell’Arte. Don Basilio appears entirely green, with greasy long hair and a hooked nose, embodying envy like a serpent—or rather, a basilisk. Figaro sports fox-like hair and moustaches, while Don Bartolo, dressed completely in white, resembles a plump bulldog jealously watching over Rosina, who is clad in red like her beloved Lindoro.
The absence of traditional scenery focuses attention on the comic gags, carefully crafted physical acting, and above all on the voice and the music—the undisputed stars of Rossini’s opera.
This minimalist approach also highlights the more cynical undertones of the comic drama, while never losing sight of its playful and lighthearted spirit. The stage inventions follow one another with naturalness and increasing creativity, ensuring that the theatrical action never stands still.
The production opens with the announcement: “Attention please: Express train number 393 to Seville is now departing from platform five.” It is a cheerful way of travelling through Rossini’s masterpiece, allowing imagination to conjure its settings and situations.
Colorful costumes and eccentric characterizations enhance the comedy: Don Basilio is vividly green, with slicked-back hair and a hooked nose, the very image of envy; Figaro’s appearance hints at fox-like features, while Don Bartolo, entirely dressed in white, resembles a stout bulldog jealously guarding Rosina, dressed in red like her lover Lindoro. The focus remains firmly on the comic timing, expressive physicality, and above all on the voices and music that reign supreme in Rossini’s immortal masterpiece.