Calendar
ALL SHOWS ARE PERFORMED AT THE MONTE CARLO OPERA
January 2023
Friday
20 January
19 H (Gala)

Opera
Subscription Galas
Alcina
Haendel
Sunday
22 January
15 H

Opera
Subscription Matinées
Alcina
Haendel
Tuesday
24 January
19 H

Opera
Subscription Soirées
Alcina
Haendel
Wednesday
25 January
20 H

Choral concert
Subscription Galas
Stabat Mater
Rossini
Thursday
26 January
19 H

Opera
Alcina
Haendel
February 2023
Sunday
19 February
15 H

Opera
Subscription Matinées
Andrea Chénier
Giordano
Tuesday
21 February
20 H (Gala)

Opera
Subscription Galas
Andrea Chénier
Giordano
Thursday
23 February
20 H

Opera
Subscription Soirées
Andrea Chénier
Giordano
Saturday
25 February
20 H

Opera
Andrea Chénier
Giordano
March 2023
Friday
10 March
20 H

Recital
Subscription Soirées
Daniel Barenboim
Friday
17 March
20 H (Gala)

Opera
Subscription Galas
La traviata
Verdi
Sunday
19 March
15 H

Opera
Subscription Matinées
La traviata
Verdi
Monday
20 March
20 H

Opera by the Vienna Staatsoper
Subscription Galas
Le nozze di Figaro
Mozart
Tuesday
21 March
20 H

Opera
La traviata
Verdi
Thursday
23 March
20 H

Opera
Subscription Soirées
La traviata
Verdi
April 2023
Sunday
16 April
15 H

Opera
Subscription Matinées
Il barbiere di Siviglia
Rossini
Monday
17 April
20 H

Puppet opera
Subscription Soirées
L’Orfeo
Monteverdi
Tuesday
18 April
20 H (Gala)

Opera
Subscription Galas
Il barbiere di Siviglia
Rossini
Thursday
20 April
20 H

Opera
Subscription Soirées
Il barbiere di Siviglia
Rossini
Saturday
22 April
20 H

Opera
Il barbiere di Siviglia
Rossini
Rossini
Il barbiere
di Siviglia
16, 18, 20 & 22 April 2023
Opera
Conductor Gianluca Capuano
Director Rolando Villazón

Rossini Il barbiere di Siviglia

Opera
Sunday 16 April 2023 - 15 h
Tuesday 18 April 2023 - 20 h (Gala)
Thursday 20 April 2023 - 20 h
Saturday 22 April 2023 - 20 h
Opéra de Monte-Carlo

Melodramma buffo in two acts
Music by Gioachino Rossini (1792-1868)
Libretto by Cesare Sterbini, based on the comedy The Barber of Seville, or The Useless Precaution by Pierre-Augustin Caron de Beaumarchais
Premiere: Rome, Teatro Argentina, 20 February 1816

Production of the Salzburg Festival

On 20 February 1816, just as Carnival week was approaching its climax, Gioachino Rossini’s Il barbiere di Siviglia had its (eventful) premiere at the Teatro Argentina in Rome. The new opera was a highly appropriate match for the unfettered atmosphere of the Roman carnival: delighting in masks and disguise, parody and the grotesque, it is permeated through and through with the spirit of carnival. In Rossini’s work everything is energized, sharpened or exaggerated, charged with dramatic vibrancy. And thus the comedy in Rossini’s work is closer to commedia dell’arte than the French play on which it is based.

The meta-theatrical dimension that characterizes Il barbiere di Siviglia is being further expanded in Rolando Villazón’s production –thus opening up new potential for comedy and moments of poetry. An additional protagonist is being introduced, played by the great (and fastest in the world) quick-change performer Arturo Brachetti, a daydreamer who seeks distraction in old movies, especially those starring a particular diva with whom he has become enamoured.

Production team

CONDUCTOR | GIANLUCA CAPUANO
DIRECTOR | ROLANDO VILLAZÓN
SET DESIGN | HARALD B. THOR
COSTUME DESIGN | BRIGITTE REIFFENSTUEL
LIGHTING DESIGN | STEFAN BOLLIGER
CHOREOGRAPHY | RAMSES SIGL
VIDEO | ROCAFILM
CHOIRMASTER | STEFANO VISCONTI

Cast
Le Comte Almaviva | Levy Sekgapane
Bartolo | Alessandro Corbelli
Rosina | Cecilia Bartoli
Figaro | Nicola Alaimo
Don Basilio | Ildar Abdrazakov
Berta | Rebeca Olvera
Fiorello | José Coca Loza
Arnoldo | Arturo Brachetti
MONTE CARLO OPERA CHOIR

Les musiciens du Prince – Monaco
A few words with…

Rolando Villazón

Some words about Rossini… 

I got to sing Rossini very early, although his operas did not become part of my permanent repertoire. He remains for me, however, one of the greatest composers ever. Like Mozart, he was a master both of tragedy and comedy, like Mozart his music lives because of his sparkling brilliance, and his timing. And timing is crucial for good comedy.

 

How do you go about staging such a well-known work as the Barber?

The big question is always how to translate a piece into a visual language to which we immediately relate today without betraying the essence of the piece: you actually steal something from Rossini while at the same time staying true to Rossini… More than anything else, the staging must be musical! Visually, this production refracts Rossini’s time into our own through the world of black-and-white movies from the early 20th century, which were nostalgic and melancholic on the one hand, and rumbustious like Chaplin and Keaton films on the other. Moreover, thanks to an invented figure who at first observes the characters of the opera, and eventually starts to interact with them, we create a new sub-plot with a second level of comedy.

 

What do you take into consideration when staging an opera, and particularly with artists so knowledgeable in Rossini’s repertoire? 

First of all, I must be far better prepared than anyone else because for me it is new! With such incredibly intelligent, creative and talented colleagues, I simply set out the archetypes of the figures, whereas the singers “steal” them from me to make them their own. In the end, I just need to regulate and say, “yes, this works in our context” or “no, that makes no sense here”. Gianluca Capuano requires a special mention, however! He is a smart and creative collaborator, always present and with valuable input. He will keep the Barber fresh and alive throughout its run, while my job as the producer ends at the dress rehearsal..

 

From your point as a musician who is also an administrator, do you have any tips for Cecilia Bartoli?

(Surprised) I cannot imagine why I should give Cecilia tips…! On the contrary, it is her who has always been a source of inspiration for me. With her talent and rational, as well as emotional intelligence, which is supported by a wonderful instinct, she managed to create a tailor-made career for herself which is absolutely unique. I learn so much from her and am grateful to be a small part of her universe.