THE BARBER OF SEVILLE

GIOACHINO ROSSINI

THE BARBER OF SEVILLESEMI-STAGED CONCERT IN TWO ACTS

Composer Gioachino RossiniLibrettist Cesare Sterbini

Conductor Richard Mills AMDirector Elizabeth Hill-Cooper

Costume Realisation Kate Glenn-SmithLighting Designer Peter Darby

Associate Director Laura Hansford

CASTCount Almaviva Brenton Spiteri

Doctor Bartolo Warwick FyfeRosina Chiara Amarù

Figaro José CarbóDon Basilio Paolo Pecchioli

Fiorello / Ambrogio Stephen MarshBerta Kathryn Radcliffe

Officer Darcy Carroll

Orchestra Victoria

12, 14 DECEMBER 2019Melbourne Recital Centre, Elisabeth Murdoch Hall

Original premiere 20 February 1816, Teatro Argentina, RomeApproximate timings: Act One 85 mins / Interval 20 mins / Act Two 65 mins

Sung in Italian with English surtitles

VICTORIAN OPERA PRESENTS

PRESENTING PARTNER

José Carbó (Figaro)3

ORCHESTRAPRODUCTIONPRODUCTION TEAM

Production Manager Eduard InglésStage Manager Laura Hansford

MUSIC STAFF

Principal Repetiteur and Continuo Phoebe BriggsRepetiteur Phillipa Safey

ENSEMBLE

TenorCarlos E. Bárcenas

Alastair Cooper-GolecMichael Dimovski

Douglas Kelly

Bass / BaritoneDarcy Carroll

Stephen CouttsOliver Mann

Kiran Rajasingam

ACKOWLEDGEMENTS

Surtitles courtesy of Opera Australia

CONCERTMASTERYi Wang *

DEPUTY CONCERTMASTERRoger Jonsson §Erica Kennedy *

VIOLINPrincipal 1st ViolinYi WangPrincipal 2nd ViolinMonica NaselowAssociate Principal 1st ViolinTomomi Brennan §Associate Principal 1st ViolinErica KennedyRebecca Adler Binny Baik Alyssa Conrau **Rachel GamerMatthew Hassall **Rachael Hunt Philip Nixon John Noble Chris Ruiter Lucy Warren Tony Zhai

VIOLASection PrincipalPaul McMillanAssociate PrincipalNadine Delbridge * Jason Bunn §Catherine Bishop Cora Teeuwen +

CELLOSection PrincipalMelissa ChominskyAssociate PrincipalDiane FroomesSarah CumingPhilippa GardnerTania Hardy-Smith Andrea Taylor §

DOUBLE BASSSection PrincipalStuart RileyChair supported by Don and Angela Mercer

Associate Principal Kylie Davies + Matthew Thorne

FLUTESection PrincipalLisa-Maree AmosChair supported by Peter Griffin AM and Terry Swann

Associate Principal Karen Schofield §Rebecca Johnson ++

OBOESection PrincipalJoshua de Graaf *Principal Cor Anglais Dafydd Camp Chair supported by Ms Linda Herd

Stephanie Dixon +

CLARINETSection PrincipalPaul Champion Associate Principal Justin Beere §Chair supported by Susan and Leith Campbell

Lloyd Van’t Hoff +

BASSOONSection PrincipalLucinda CranAssociate PrincipalMatthew Ockenden ≠Principal ContrabassoonTimothy Murray

HORNSection PrincipalJasen MoultonChair supported by Mr Robert Albert AO RFD RD and Mrs Elizabeth Albert

Principal Third Linda Hewett Sydney Braunfeld §Robert Shirley +

TRUMPETSection PrincipalMark FitzpatrickAssociate PrincipalAnthony Pope

TIMPANISection PrincipalGuy du BlêtChair supported by Igor and Jenny Zambelli with Libby and Jim Cousins AO

PERCUSSIONSection PrincipalMathew LevyAssociate PrincipalScott Weatherson +

* Acting ** Acting Associate Principal§ On Leave + Guest Musician++ Guest Associate Principal≠ Courtesy of Opera Australia Orchestra

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WELCOMEWhen Rossini revealed The Barber of Seville to the world in Rome in 1816, he gave audiences not only a great night in the theatre, but also a great essay on the power of love and its capacity to change lives.

The opera does not require elaborate and exotic settings – its meaning, its dramatic process and its sparkling joy live in the music, so a production that makes singing and music its focus, in the framework of a simple manifestation which references the mobilities of commedia dell’arte has been our choice for these performances in Launceston and Melbourne.

The wonderful Sicilian mezzo-soprano Chiara Amarù makes her Australian debut, alongside another great Italian artist, basso cantante Paolo Pecchioli. They are joined by some of our finest established and emerging singers in this repertoire: José Carbó, Warwick Fyfe and Brenton Spiteri. Stephen Marsh and Kathryn Radcliffe complete an ensemble tasked with revealing and revelling in the follies of the human condition: exploring the pathways of the heart given to us by a composer whose unconditional love for humanity shines forth in every bar he wrote.

Enjoy.

RICHARD MILLS Artistic Director and Conductor

DIRECTOR’S NOTEIt is with great pleasure that we welcome you to Victorian Opera’s final presentation for 2019, The Barber of Seville. This work has so much to offer – great tunes, comic characters, a farcical storyline, and some fabulous singing and orchestral playing.

The moral of the tale is ‘love conquers all’, but the journey to get there takes some interesting turns along the way. To accompany me along this journey, I am ever grateful to my colleagues Laura Hansford, our Associate Director, and Peter Darby, our Lighting Designer. Both these individuals bring a fresh and often thought-provoking point of view to be considered. It is always a true collaboration, and in the end the results are far greater with three keen heads of ideas rather than just one. I am indebted to their generous contributions and guidance.

It goes without saying that without a great leader, the path can lead you anywhere! With Richard Mills, our path is very clearly defined and always interesting to tread. I can’t thank him enough for all his support and expertise. What a special year the Victorian Opera family has enjoyed. The company is lucky to have you at the helm, Maestro Mills.

Please join us again in 2020 when we continue to demonstrate our capacity for great music, brilliant productions and the excellence of singing at the highest level. Come as you are, as we reimagine the potential of opera and music theatre, for everyone.

ELIZABETH HILL-COOPER Chief Executive Officer and Director

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SYNOPSISACT ONE

Rosina is serenaded by the Count Almaviva who is disguised as Lindoro, a poor student. He keeps his true identity secret as he wants Rosina to love him, unaware of his rank and wealth. Doctor Bartolo, Rosina’s guardian, plans to marry her himself.

Figaro, former servant of the Count and a regular employee in Bartolo’s residence, is enlisted to help the Count get into the house to make contact with Rosina.

In the meantime, Bartolo has heard that Count Almaviva is in town and, worried that he will steal Rosina away from him, moves his wedding to her to the next day. Figaro learns of the Doctor’s intentions and devises a plan.

The Count arrives pretending to be a drunken soldier billeted at Bartolo’s residence, but Bartolo sees through his ploy and refuses the Count entry. The situation heats up and the local police arrive to restore the peace, arresting the Count. Amidst the commotion, the Count manages to slip Rosina a note before whispering his identity to the officers, who immediately release him.

ACT TWO

Assuming another disguise, the Count enters the house dressed as Don Alonso, a substitute music teacher for Rosina as Don Basilio is ‘unwell’. During the music lesson, Don Alonso reveals that he is Lindoro. He and Rosina express their love for each other and make plans to escape.

Bartolo decides to hasten his own wedding to Rosina, and orders Don Basilio to organise a notary so that he can marry Rosina at midnight. Bartolo then tells Rosina that Lindoro has been deceiving her and he is acting on behalf of the Count. Rosina is heartbroken and agrees to marry Bartolo.

Later that evening during a violent storm the Count and Figaro break into Bartolo’s house through the balcony window. Rosina, angry that she has been deceived, confronts Lindoro. The Count reveals his true identity, and the lovers are reunited. Figaro urges them to escape before Bartolo catches them. To their horror, they discover that Bartolo has moved the ladder from the balcony, thwarting their escape.

Don Basilio returns to the house with the notary who is to marry Rosina and Bartolo. After some threats and bribes, Basilio is convinced to witness the marriage of Rosina and the Count. Bartolo arrives too late, and he must admit that he has lost Rosina to the Count Almaviva.

Warwick Fyfe (Doctor Bartolo) and Paolo Pecchioli (Don Basilio)

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BIOGRAPHIES

RICHARD MILLS Conductor

Richard is one of Australia’s most prolific and internationally recognised composers. He pursues a diverse career as composer, conductor and artistic director, with an extensive discography of orchestral works including his own compositions. He has held numerous prestigious posts, and received many scholarships, fellowships and awards including an AM in 1999. Currently Artistic Director of Victorian Opera, he was previously Artistic Director of West Australian Opera 1997–2012, Director of the Australian Music Project for the Tasmanian Symphony Orchestra 2002–2008 and Musica Viva’s Composer of the Year in 2008. This year Richard has conducted Victorian Opera’s Parsifal, The Barber of Seville and Heroic Bel Canto.

ELIZABETH HILL-COOPER Director

Elizabeth began her career as a classical ballet dancer with West Australian Ballet. Moving into choreography and directing, she discovered her love of opera.

She has created or restaged productions for several state opera companies and Opera Australia. Her credits include: Fledermaus, The Gypsy Princess, The Tales of Hoffmann, My Fair Lady, The Pirates of Penzance, Rusalka, Lakme and Arabella. Elizabeth regularly collaborates with Stuart Maunder and Roger Kirk.

Joining Victorian Opera in 2012, Elizabeth has directed mainstage productions such as Pelleas and Melisande and was the company’s Executive Producer from 2014 - 2019. She was appointed Victorian Opera’s CEO in May.

BRENTON SPITERI Count Almaviva

Formerly a Young Artist at Opéra de Lyon, Brenton Spiteri has performed for the majority of Australia’s state opera companies and symphony orchestras. His roles include Tamino (The Magic Flute), Almaviva (The Barber of Seville), Ashley Crowther (Fly Away Peter), Rinuccio (Gianni Schicchi), Telemaco (The Return of Ulysses), Ernesto (Don Pasquale) and Soldato/Mercurio (The Coronation of Poppea). He recently created the title role in Oscar and Lucinda, a performance that Australian Book Review described as ‘remarkable’. He currently holds the Gwen Catley Opera Scholarship at the Guildhall School of Music and Drama, and the Australia Council’s Marten Bequest Travelling Scholarship for Opera.Chiara Amarù (Rosina)

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PAOLO PECCHIOLI Don Basilio

Bass Paolo Pecchioli started his career more than 25 years ago. Since then, he has developed an international career and has sung more than 60 leading roles in major theatres around the world: Washington DC, Barcelona, Tokyo, Moscow, Dallas, Pittsburgh, New York, Munich, Dresden, Chicago, Valencia, Soul, Milan, Rome, Venice, Florence, Bari and Turin. He has worked with numerous conductors including Riccardo Chailly, Zubin Mehta, Riccardo Muti, Riccardo Frizza, Richard Mills, and Carlo Rizzi.

A bel canto repertoire specialist, his role credits include La Cenerentola (also recorded for Sony Classical), Semiramide, I Puritani, Il barbiere di Siviglia, Le nozze di Figaro, and Don Giovanni.

STEPHEN MARSH Fiorello

Stephen is a Victorian Opera Emerging Artist. He currently holds a Melba Trust Scholarship and is part of Melbourne Opera’s Richard Divall Emerging Artist Program. After participating in several Victorian Opera Youth Operas, Stephen made his professional debut in the company’s Sleeping Beauty in 2017. Since then he has been a regularly featured artist with Victorian Opera, performing roles in Hansel and Gretel, Heroes and Villains, The Snow Queen, Pelléas et Mélisande, Parsifal, Alice Through the Opera Glass, Heroic Bel Canto and The Selfish Giant. In 2018, Stephen was the winner of the ‘Melbourne Welsh Male Choir Singer of the Year’ Competition, second place recipient of the inaugural ‘Limestone Coast Aria’ Competition and a finalist in the Herald Sun Aria Competition.

KATHRYN RADCLIFFE Berta

Winner of the 2014 Herald Sun Aria, Melbourne-based soprano Kathryn Radcliffe has recently made several important débuts - Delia in Il viaggio a Reims for Opera Australia, The Queen in The Princess and the Pea for Victorian Opera and Frasquita in Carmen for the Tasmanian Symphony. For Victorian Opera, she has also sung First Flower Maiden in Parsifal and Herodias/The Raven in Three Tales.

In 2016, Kathryn worked for several months at the Vienna State Opera – covering a range of roles such as Pamina, Fiordiligi in Così fan tutte, Ortlinde in Die Walküre, Pousette in Manon, Echo in Ariadne auf Naxos and The High Priestess in Aida. She made her Vienna debut in a small role in The Cunning Little Vixen.

WARWICK FYFE Doctor Bartolo

Warwick Fyfe is a Helpmann Award-winning singer and is considered one of Australia’s finest baritones. Recent appearances include Beckmesser (Die Meistersinger von Nürnberg), Alberich (Der Ring des Nibelungen), Sancho Panza (Don Quichotte), Amonasro (Aida), Geronio (Il turco in Italia) and Klingsor (Parsifal) for Opera Australia, Alberich (Das Rheingold) for the Japan Philharmonic and Tianjin Symphony Orchestras and Peter (Hansel and Gretel) in Singapore. 2019 appearances include Athanaël (Thaïs) and Amonasro for Finnish National Opera, Barone di Trombonok (Il viaggio a Reims) for Opera Australia and Bartolo (Il barbiere di Siviglia) for Victorian Opera. Warwick was the recipient of a Helpmann Award for his 2013 performance as Alberich in the Melbourne Ring Cycle.

CHIARA AMARÙ Rosina

Born in 1984, Chiara Amarù made her debut as Dorabella (Così fan tutte). She began her collaboration with the Rossini Opera Festival in Pesaro as Amenofi (Mosè in Egitto). Her other roles include Angelina (La Cenerentola) Idamante (Idomeneo), Isabella (L’Italiana in Algeri), Marianna (Signor Bruschino), Isaura (Tancredi), Malcolm (La donna del lago), Rosina (Il barbiere di Siviglia) at ROF, Sara (Roberto Devereux) in Florence, Isolier (Le Comte Ory) at Teatro alla Scala, Preziosilla (La forza del destino) at the Verdi Festival in Parma and Verona.Recent and future engagements include Ermione in Moscow, Così fan tutte in Rome, Fra Diavolo in Palermo, a new production of L’ Italiana in Algeri at La Fenice, Il barbiere di Siviglia in Parma, Palermo and Melbourne.

JOSÉ CARBÓ Figaro

Argentine-Australian baritone José Carbó is one of the most exciting operatic artists of his generation; he has performed in the leading houses of the world including Teatro alla Scala, Teatro Real Madrid, Los Angeles Opera, Teatro dell’Opera di Roma, Seattle Opera and Opera Australia.

In 2018, José toured Australia with superstar Sumi Jo and sang Germont (La traviata) for Opera Australia; he returned to OA in 2019 as Sharpless (Madama Butterfly) and sang Scarpia in Opera Queensland’s new production of Tosca. In 2015, José joined the roster of principal artists at The Metropolitan Opera, New York. For Victorian Opera, he has appeared in Lucia di Lammermoor and Opera on a White Night Gala Concert.

BIO

GR

APH

IES

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IN DEPTHRossini for our times: Reflections on The Barber of Seville

The first point to make is my firm belief that Rossini is a master for all time. His music speaks to us today with an immediacy that is formed by the perfect fusions of technique, inspiration and profound humanity – reaching from the early 19th century to the 21st century with a clarity and capacity for engagement undiminished by time and fashion and capable of lasting and yet immediate vitality. How then, does a performer prepare to recreate the enduring magic of this literature for the audiences of our time? Probably the best way forward is to reconsider the essence of the Rossini style and its origins.

The most important element in Rossini is the voice, and an understanding of the vocal traditions of bel canto is essential to good Rossini style – it is good to remember that the origins of bel canto lie in the Baroque era where the word was of paramount importance. Rossini for the most part had a very direct relationship to the texts he worked with – it is only after the initially clear representation of the words is accomplished that the composer proceeds to more elaborate vocalisations. This is not always the case

where many characters are joined in ensemble but, even in these situations, the intention is always clear. Rossini’s harmony is simple, though that does not mean, in any way, simple-minded. Rather than subjective introspection, Rossini favours an objective application of his musical language in a vocal style formed from the classical ideals of bel canto: an instrumental perfection of the voice, absolute control of legato with the potential for achieved mobility with agile and focused ornamentation, plus the capacity to deliver text with clarity and imagination.

One could observe that in Baroque opera, gods became men through song; in Rossini, men can become like gods through song. But Rossini’s art is grounded in logic and humanity, there are no abstract or mythical beings – the closest being Alidoro in La Cenerentola (Cinderella) – rather a concentration on character and human predicament via a musical apparatus that shares some commonalities with classical ballet; both art forms having a highly developed vocabulary of gestures applied to the business of storytelling and creating a supporting emotional geography. Interestingly both forms

require performers of the highest technical accomplishment. The singers of Rossini’s time were trained like instrumentalists – only after years of training did they get to sing any songs at all – the pedagogy was aimed at forming the voice as an instrument. The singers were the superstars of the day, much like Hollywood actors are today. Impresarios like Domenico Barbaja, who was also a gambling magnate setting up casinos front-of-house to cross-subsidise his opera business, controlled the careers of Pasta, Malibran, Rubini, Rossini (who he brought to Naples), Bellini and many others.

Many operas were written at breakneck speed – Il barbiere di Siviglia (The Barber of Seville) was composed in just over two weeks – and there was a considerable amount of reusing already composed material. The Overture to Il barbiere is a case in point, having been re-purposed from one of the Neapolitan operas, Elisabetta regina d’Inghilterra (Elizabeth, Queen of England), that he wrote for Barbaja and San Carlo. No matter, in Rossini’s own words opera is about ‘voice, voice and more voice’.

But the inspiration of the voice flows to the orchestra – its syllabic energy, its sparkling variety of attack, its palette

of rhythmic and dynamic emphasis, its capacity for flexibility and rhetoric should transfer seamlessly from the voice to the instrumental forces, and in turn inspire soloistic flair from the wind instruments in particular contexts. Also, the patterns of string articulation need to derive their energy from the voice, with its soft and hard consonants, its beautiful legato and its ever-present expressive intention, which comes, of course, from the text.

In all this, the conductor needs to honour the subliminal presence of 18th century performance practice in rhythmic shaping. Of course, the editions of the Fondazione Rossini, developed by the scholars surrounding the famous Rossini festival in Pesaro, are indispensable for serious preparation – but one has to temper the philological elegance of these editions with the practical necessities and realities of contemporary performance, and the use of modern brass and wind instruments. Rossini’s notation only goes so far, and he wrote with great speed, adjustments have to be made – but always with faithfulness to the primacy of voice, the overall Rossini style and with the application of musical common sense.

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To move on now from ‘bread and butter’ practical questions to consider the opera in a wider context. The opera’s original focus in 1816 was Count Almaviva, in fact the opera was called Almaviva, ossia L’inutile precauzione (Almaviva, or The Useless Precaution) and composed for the famous Manuel Garcia, who founded a dynasty of singers and teachers. Nowadays, the emphasis has shifted to Rosina. Beaumarchais’ comedy (on which Cesare Sterbini based his libretto for Rossini) ran into difficulties with magistrates because of its exultation of the idea of marriage for love and the aristocratic bridegroom’s familiarity with the ‘low life’ of Seville.

So, we have the ‘new’ or ‘modern’ characters: Rosina, Almaviva and Figaro, unconstrained by pre-French-Revolutionary aristocratic and societal conventions; and the ‘old order’: Bartolo, Basilio and Berta. Both groups are defined by the value they place on money – the secret character of the opera. For the wealthy Bartolo – as for his class and their servants (including Basilio and Berta) – marriage is the means to secure and increase a fortune. For Almaviva, a rebel, and Rosina, a fiercely independent idealist, it is the fulfilment of romantic attraction. For the cynically opportunistic Figaro it is whatever is convenient and well paid. It is well to remember that the obvious dignity accorded to love and women in

1816 was itself revolutionary.

Il barbiere di Siviglia has endured in the affections of humanity because it unites the worlds of the 18th century opera buffa with something much greater – the exploration of the human soul by a composer whose love for humanity, in its glories and in its foibles and weaknesses, shines forth on every page.

RICHARD MILLS Artistic Director and Conductor

Brenton Spiteri (Count Almaviva)

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Photography: Nicholas Hanson pp. 2, 9, 10, 17© Cover illustration: Julien Pacaud for Victorian Opera

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FOUNDING MUSIC DIRECTORRichard Gill AO

VICTORIAN OPERA BOARDChairman Genevieve OverellRoger Box, Vivienne Corcoran, Siobhan Lenihan, Selina Lightfoot, Stephen McIntyre, Grant Powell, Patricia Stebbens, Anna Pitt (Board Observer)

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PRESENTING PARTNER

UPCOMING EVENTSSalomePower, seduction, vengeance unveiled

Prepare to be astounded and mesmerised by this horrifying yet exhilarating spectacle. Based on Oscar Wilde’s play, Strauss’ scandalous opera explores the outer limits of human nature.

22, 25, 27 February 2020 | Palais Theatre, St Kilda

Greta Bradman TalksFascinating Friday night talks

Join soprano Greta Bradman for two insightful talks as she explores fashion and relevance in music, and asks the question: ‘What makes a golden age?’

5, 19 March 2020 | Horti Hall, Hemstritch Studio

Trivia Night: The Biggest Opera Buff(a)Think you know a few things about opera?

Book a table, test your knowledge with your teammates, and win some fabulously operatic prizes at this special one-off Victorian Opera Trivia Night.

27 March 2020 | Horti Hall, Hemstritch Studio

Five Fridays in MayBig Sing and cabaret evenings

Join the chorus and celebrate your love of singing at our Big Sing evenings. Experience music at close range, confessional and personal, with three original cabaret shows.

1, 8, 15, 22, 29 May 2020 | Horti Hall, Hemstritch Studio

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SHARE YOUR THOUGHTSWe’d love to know what you thought of The Barber of Seville.

Visit https://culturecounts.cc/s/VOBarber to complete a short survey.