THE BARBER OF SEVILLE
Music by Gioacchino Rossini
Libretto by Cesare Sterbini
Sung in Italian with English surtitles
FRI 12 | 7:30 PM
SUN 14 | 3:00 PM
WED 17 | 7:30 PM
FRI 19 | 7:30 PM
SUN 21 | 3:00 PM
CLASSIC OPERA | RIOTOUSLY FUNNY | MUSIC YOU LOVE
Sparkling and savvy, Rosina is determined to marry the man she loves—but how will she escape the clutches of her horrid guardian? With the help of Figaro, the cunning barber extraordinaire, of course! Schemes and delight abound as one of the greatest, wittiest, and zaniest operas returns to Boston in an enchanting new production directed by Rosetta Cucchi.
Count Almaviva is smitten with Rosina, the beautiful ward of old Dr. Bartolo, who intends to marry her. Figaro, barber extraordinaire, offers to help Almaviva win her heart. The Count tells Rosina that he is “Lindoro,” a humble student. Figaro suggests that Almaviva disguise himself as a soldier in order to gain access to Bartolo’s house.
The enamored Rosina writes a letter to “Lindoro” and vows to be with the man she loves. Basilio, her music teacher, warns Bartolo about the Count, and Bartolo decides to speed up his own marriage to Rosina. Almaviva arrives disguised as a drunken soldier but is refused entry—although he manages to slip Rosina a love note. Almaviva narrowly avoids arrest in the resulting confusion.
Later that day, Almaviva disguises himself as “Don Alonso,” a substitute music teacher, and the lovers plot their elopement during Rosina’s singing lesson. Figaro distracts Bartolo with a shave, but finally Bartolo get suspicious and throws everyone out.
Now, Bartolo is determined to marry Rosina that very night. He convinces Rosina that Lindoro is plotting with the Count to seduce her. Heartbroken, she agrees to marry Bartolo.
That night, Figaro and Almaviva steal into Rosina’s room. She accuses them of betrayal, but finally Almaviva reveals his true identity. Bartolo and a group of soldiers aren’t far behind—can Figaro’s quick wits win the day for love?
Conductor David Angus
Stage Director Rosetta Cucchi
Set Designer Julia Noulin-Mérat
Costume Designer Gianluca Falaschi
Lighting Designer DM Wood
Matthew Worth as Figaro
Daniela Mack as Rosina
Jesus Garcia as Almaviva
David Crawford as Basilio
With Michelle Trainor, Steven Condy, Jesse Darden, Vincent Turregano
Emerson Cutler Majestic Theatre
219 Tremont Street | Boston, MA | 02116
Seating is divided into three levels: Orchestra, Mezzanine, and Balcony.
The Mezzanine and Balcony are accessible by stairs in the main lobby; there is no elevator access to these levels.The Mezzanine overhangs the Orchestra after row K.
There is no elevator access to the Mezzanine and Balcony.
Restrooms are located in the lower lobby and accessible by elevator.
There are 30+ stairs to reach the Mezzanine and 60+ stairs to reach the Balcony.
Listening devices are available at the box office windows in the lobby.
Restrooms for all patrons are on the balcony level and the lower lobby level.
FOOD & BEVERAGE
Concessions will be on sale for all performances and are permitted into the theater by the venue. BLO requests that candies and bags are enjoyed in the lobby prior to the performance.
There is no coat check available at the Cutler Majestic Theatre
Figaro, Figaro, Fi-ga-ro! It may be impossible to talk about revolutions and opera without circling back to that iconic, endearing, clever barber, Figaro—an archetypal character who has transcended genres, charmed generations, and helped inspire a revolution. The Figaro that we opera-fans know and love was drawn from the trilogy of plays by Pierre-Augustin Caron de Beaumarchais: The Barber of Seville, The Marriage of Figaro, and The Guilty Mother. Barber was initially conceived as a comedic opera but was rejected, so Beaumarchais revised it as a play and it premiered in 1775. He followed its success with the even more provocative Marriage of Figaro,which shocked the king so much in its first private royal readings that it did not officially premiere until 1784. After that, Figaro became France’s single biggest theatrical success of the 18th
Of the Beaumarchais Figaro trilogy of plays, The Barber of Seville and The Marriage of Figaro live on both in their own right and through the operas that mark cornerstones of the repertory, while the third play, The Guilty Mother, has provided the foundation for a fascinating, challenging 20th-century work. The enduring character of the wily Figaro, and the other personalities drawn into his orbit by Beaumarchais, have appealed to numerous composers beyond the untouchable Rossini and Mozart. Yet in those two supreme musical examples, the works largely retain their original qualities of wit, spirit and humanity, attesting to their dramaturgical strength and continual theatricality.
Dissenters and Rebels
Who are the Dissenters and Rebels of opera? In celebration of our 2018/19 Season, we took a tour through opera history to find seven examples that upended societal expectations, charted their own course, or inspired others to imagine the world anew.