Emma Birski / OnP

Opera

Il Barbiere di Siviglia

Gioacchino Rossini

Opéra Bastille

from 30 May to 19 June 2022

3h15 with 1 interval

Il Barbiere di Siviglia

Opéra Bastille - from 30 May to 19 June 2022

Synopsis

Drawing inspiration from Beaumarchais’ comedy, Rossini retains all its original spirit to create this lively opera buffa. A native of Venice, cradle of the commedia dell’arte, director Damiano Michieletto is acutely sensitive to the burlesque inherent in Rossini’s music. He transposes the action of this “useless precaution” into a modern-day Seville reminiscent of the films of Almodovar. The monumental building that is home to Bartolo, young Rosina’s guardian – around which flits Figaro, a law unto himself – allows the director to give free rein to his wildest imagination.

Duration : 3h15 with 1 interval

Language : Italian

Surtitle : French / English

  • Opening

  • First part 100 min

  • Intermission 30 min

  • Second part 65 min

  • End

Show acts and characters

CHARACTERS

Count Almaviva: A young Spanish nobleman in love with Rosina
Bartolo: An old greybeard who is Rosina’s guardian
Rosina: Bartolo’s ward
Figaro: Bartolo’s barber, formerly in the service of Count Almaviva
Don Basilio: Rosina’s music teacher
Fiorello: The Count’s servant
Bertha: Bartolo’s old maid

ACT I
A square in Seville. Accompanied by a few hungry and undisciplined musicians, Count Almaviva serenades under the window of the girl he loves, young Rosina, the ward of doctor Bartolo. Figaro, Bartolo’s barber arrives. The Count recognises his old servant and asks for his help to enable him to draw closer to his beloved. Rosina appears on the balcony and drops a note. In it she encourages her suitor to pursue his quest. Almaviva hastily picks up the note and, assuming the identity of Lindoro, a penniless and love-struck student, he answers with another serenade. Tempted by Almaviva’s largesse, Figaro agrees to help him get into the house of the old doctor. He advises Almaviva to disguise himself as a soldier, and then, furnished with a billeting order, to requisition a room in Bartolo’s house. A room in the Bartolo household. Rosina declares her determination to break out of the gilded cage in which her guardian holds her prisoner. Meanwhile, Basilio, her music teacher, has just alerted Bartolo that Count Almaviva is in Seville, and that the latter is said to be in love with Rosina. The news is of great concern to Bartolo, who, eager to get his hands on Rosina’s dowry, has set his sights on marrying his charge. Together with Basilio, he looks for a way to discredit Almaviva in the eyes of Rosina, perhaps a campaign of slander… In keeping with Figaro’s plan, the Count disguises himself as a soldier. Feigning drunkenness, he bursts into the house. Despite the protestations of Bartolo, Almaviva presents the billeting order. A lively dispute breaks out between the two men and the altercation provokes the arrival of the guard. However, the commanding officer, who has been discretely informed as to the true identity of the noble troublemaker, leaves without making an arrest, much to Bartolo’s astonishment.

ACT II

Bartolo’s home. This time Almaviva introduces himself as Basilio’s student. After announcing that the music teacher is ill, he explains that he has been sent as a replacement to give Rosina her singing lesson. He manages to win Bartolo’s trust by offering to help him discredit the Count in the eyes of the young girl. Just then, Figaro arrives to shave Bartolo in order to distract his attention and to facilitate the meeting between Rosina and the bogus music teacher. Basilio arrives unexpectedly to the great surprise of Bartolo who had thought he was ill. A well-lined purse suffices to convince Basilio that he truly is sick and that he should take to his bed. Meanwhile Bartolo surprises the lovers’ tryst. Furious, he chases the bogus music teacher out of the house and decides to hasten his plans to marry Rosina. He manages to convince her that her suitor is making fun of her on behalf of a third party who seeks to seduce her. Distraught, the young girl decides to take her revenge by marrying her guardian. Night falls and a storm breaks out. Figaro and the Count discreetly enter the house but Rosina rebuffs the young man. The misunderstanding is quickly resolved and the lovers make up. A notary arrives to sign the wedding contract between Rosina and Bartolo. Figaro turns the situation to their advantage and persuades him to sign the contract between Rosina and Almaviva, with Basilio as a witness. The offer of a precious ring and the threat of a pistol are enough to convince Basilio to betray Bartolo. The contract is signed. When Bartolo arrives he is intent on stopping Almaviva but it is too late. The marriage is proclaimed and the Count reveals his true identity. The doctor has little choice but to accept. The Count’s promise to leave him the dowry of his ward calms his anger.

Artists

Opera buffa in two acts (1816)

After Pierre-Augustin Caron de Beaumarchais

Creative team

Cast

Orchestre et Choeurs de l’Opéra national de Paris

Media

  • The Barber of Seville seen from the sky

    The Barber of Seville seen from the sky

    Watch the video

  • Draw-me Le Barbier de Séville

    Draw-me Le Barbier de Séville

    Watch the video

  • A new Count at Bastille

    A new Count at Bastille

    Watch the video

  • Figaro’s Flirtation

    Figaro’s Flirtation

    Read the article

© Philippe Meicler / OnP

The Barber of Seville seen from the sky

Watch the video

Fly over the set in a dream

1:03 min

The Barber of Seville seen from the sky

By Philippe Meicler

One of the most extraordinary features of director Damiano Michieletto’s production of The Barber of Seville is undoubtedly its scenography: a building with multiple rooms is home to the action.

Discover the scenery as you fly over it with a drone.

Draw-me Le Barbier de Séville

Watch the video

Understand the plot in 1 minute

1:10 min

Draw-me Le Barbier de Séville

By Matthieu Pajot

In creating this ebullient opera buffa, Rossini captured all the fiery spirit of the comedy by Beaumarchais that inspired it.

A native of Venice, birthplace of commedia dell’arte, Damiano Michieletto is highly sensitive to the burlesque vein in Rossini’s music. He transposes the action of this Useless Precaution to a modern-day Seville inspired by the cinema of Almodóvar.

Bartolo’s monumental building, where Figaro’s free spirit whirls and twirls, allows this director to give free rein to his off‑beat imagination.

© Charles Duprat / OnP

A new Count at Bastille

Watch the video

In conversation with the young tenor Xabier Anduaga

4:12 min

A new Count at Bastille

By Konstantinos Aspiotis

Gioacchino Rossini's The Barber of Seville returns this season to the Opéra Bastille. Damiano Michieletto’s staging evolves in the interior of a colourful modern-day building reminiscent of several Italian films of the sixties. On this occasion, Octave interviewed the young Spanish tenor Xabier Anduaga, who is making his debut on the stage of the Paris Opera in the role of the Count Almaviva. He discusses his training, the musical characteristics of Rossini's score and the vocal and acting challenges of his role. 

Il Barbiere di Siviglia by Gioacchino Rossini
The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. ...

© Jérémie Fischer

Figaro’s Flirtation

Read the article

Love in drag

09 min

Figaro’s Flirtation

By Stéphanie Hochet

Figaro and Alban are class-mates. At first glance, they seem an unlikely pair: one of them is popular and a charmer, the other timid and reserved. But if Alban can help Figaro to boost his marks in mathematics, Figaro can certainly help Alban to attract a young girl. The beautiful Rosina from The Barber of Seville lives again in an amusing transposition of this romantic comedy of manners from Stéphanie Hochet’s pen. Against a backdrop of social determinism and gender issues, the author reveals the truth about amorous passion: who are we when we are in love?


Figaro and Alban have known each other since Year 8, but have not been the best of friends. At the age of 16, they find themselves in the same class, in the sixth form at the Lycée Ronsard in Paris. At first glance, they don’t seem to have much in common. Figaro is easy to approach, friendly, solidly built, whereas Alban is tall and skinny and rather reserved. Figaro comes to school dressed in a leather jacket and always wears the same pair of faded, frayed jeans, Alban is often dressed in Ralph Lauren shirts and well-cut jackets. Not surprisingly, the two boys come from very different backgrounds. Figaro proclaims his working-class origins with thoroughly communist pride, whilst Alban prefers to avoid mentioning that he lives in 162m2 in the 16th arrondissement and that, yes, the ring on his finger really is a signet ring inherited from his grandfather on which you can see the family coat of arms: two cats hérissonnés. Alban isn’t stupid, he has noticed that his social background does not go down well at the lycée where a streetwise swagger is more appreciated.

However, at the start of the new school year, things change. The simple fact of being in the same class lead Alban and Figaro to talk to each other more than before. Figaro realises little by little that Alban could be useful to him for his maths homework. The latter is clearly the best in the class in this domain. Figaro struggles to get even mediocre results. Alban has had private coaching. Figaro is lucky to have a mother who encourages him to study. Naturally, the boy cheats. He’s in the habit of sitting next to Alban during maths tests, so as to “check” his answers against those of his friend. Figaro’s marks improve. Alban is more flattered at having attracted a boy as popular as Figaro than ruffled by his uncouthness. Alban has almost no friends at the lycée. His circle is that of his riding club in Vincennes. He has never managed to render himself likeable at school.

The two boys become friends. Even if neither of them are taken in by the self-interested nature of their friendship.

Little by little, Alban loses his rigid side and talks more easily to Figaro. The latter is amused by his new friend’s awkward manners and teases him gently.

At the start of winter, during a history lesson, Alban summons up his courage and asks Figaro,

“Are you seeing anyone at the moment?”

“Yes.”

“That suits me”, says Alban.

Figaro looks at him half-surprised, half-amused.

“Explain.”

“I’ve fallen in love and I’d like you to help me.”

“Can’t you manage on your own?” asks Figaro, whose flirtations are

numerous and notorious.”

“It’s complicated. She’s already going out with someone. With the worst sort of idiot.”

“Who is she?”

“She’s called Rosina, she’s the prettiest girl I’ve ever seen in my life. I noticed her a month ago and I discovered her affair with that cretin Flavian two weeks ago. It’s breaking my heart. I can’t sleep anymore.”

Figaro looks at Alban’s face. Under his eyes, purple shadows indicate that he is not lying. What an odd guy, this Alban. Figaro suspects that he is utterly gauche with women.

“I’ll see what I can do to help you. Flavien has weaknesses that I’m well aware of. And he’s very naïve.”

“I’ll owe you one!”

Figaro goes out with whoever he wants. His charm operates very quickly and his reputation as popular (cool, outgoing with girls, insolent with teachers, wholeheartedly anarchist and very nice to look at) precedes him and flatters his listeners. When Flavien sees him coming towards him during break, he’s surprised but smiles irrepressibly.

“How are you, mate?”

“Good, and you?”

“I’m organising a drink with some mates in this cool bar on Friday, d’you fancy coming?”

“Why not! I’ll come with Rosina.”

“Come on your own, it’s guys only. We’ll discuss the talent. I’ll bring some cognac and you can tell me what you think of it.”

Flavien is a bit disconcerted by this invitation. He finds the idea strange but nothing is really that surprising when it comes from Figaro, a guy who looks like a rock star and even intimidates some of the teachers – rumour has it that Figaro has had an affair with a biology teacher.

Flavien has been going out with Rosina for just over a month. Recently, they’ve been so close that neither can do anything without the other. Flavien, who has always been independent and a bit fickle, is delighted by this night out with the lads. Rosina will understand, she’s an intelligent girl.

At that precise moment, Rosina crosses the playground to join him. This slight little figure with green eyes and red hair easily elicits desire and love amongst the boys. She’s as vivacious as wildfire, cheerful as a chaffinch, fragile as a rose petal and as timid as a Renaissance virgin. She looks at Flavien with an expression that there’s no mistaking.

“How can she be in love with that buffoon?” muses Figaro. “We’ll soon remedy this.”

She asks Flavien:

“Are we seeing each other Friday?”

“No, I’m busy already.”

“The day after then?”

“If I can, I’ll ring you,” he says, looking at the screen of his I-phone. Surprised, the young girl walks off.

“Charming but a bit clinging, you know what it’s like,” says Flavien to Figaro.

“Tell me about it,” replies Figaro, repressing a desire to slap him. It’ll do you good to go out without her, especially as I want to introduce you to someone.”

Figaro explains his plan to Alban:

“Friday evening, you’ll be called Alma. You’re going to show off that slim waist that all the girls envy. I’ll bring dresses and some makeup.”

“Shall I borrow one of my mother’s wigs?”

“Yes, that’s a great idea. You’ve got to entangle Flavien in your web. And I’ll be there to take beautiful photos.”

Alban bursts out laughing.

“And supposing he recognises me?”

“Only a girl would be smart enough for that.”

The disguise is a success: Alban looks in the mirror with entranced stupefaction.

“Ah, you laugh to see yourself looking so beautiful in this mirror?” says Figaro. “If I didn’t know better, I’d chat you up.”

“What a shame you do know.”

The two boys go off to the Peacock, Figaro’s headquarters. Their entrance causes a stir. Everybody is staring at the beautiful stranger.

“Introduce me then,” Flavien asks Figaro.

“Alma, this is Flavien. Flavien, this is Alma.”

“How come we’ve never met before?”

In an assumed voice, Alma replies, her eyes lowered,

“If you only knew how many times I’ve seen you without you noticing me.”

That was all it took for Flavien to fall for Alma.

“Let’s put that right straightaway!”

“Here’s to your meeting!” Figaro intervenes.

The boys down their glasses of cognac in one.

“For a slender miss, you can hold your drink!”

“I can hold other things even better.”

Figaro looks away abruptly to stifle a laugh.

“I get the impression you don’t need me anymore. I’ll leave you, I see Jérôme is out of cognac.”

“Why do I feel like it’s the first time?” asks Flavien.

“Because it is.”

“It’s incredible.”

“It’s the first time that I can feel the magic that I inspire. Until now, I’ve just been a bystander.”

“Why me?”

“I’ve been obsessed with you for so long.”

“Well, go on! Are we at the same college?”

“I’ve been seeing you in the street ever since I was ten.”

Flavien’s mouth feels dry and his temples are on fire. He grabs the young girl’s wrist in a movement of desire.

“I’ve got to see you alone. Quickly!”

Alma brings her lips towards Flavien’s, not without having checked that Figaro was photographing them with his cell-phone. The kiss is only the more spectacular as a result. Then, Alma is gone without a word of explanation. Flavien joins Figaro.

“You were right. I’ve never met a girl like that before.”

During break, Figaro joins Rosina with a pained expression on his face.

“Are you the one going out with Flavien?”

“Has something happened to him?”

“You could put it like that, yes.”

He shows her the photos.

“It was on Friday night.”

“But who is that girl?!”

“Ask Flavien.”

“I’ve too much pride for that.”

“You’re quite right. You’re worth better than him.”

“Don’t judge him too quickly. His dad’s in prison, he lacks guidance.”

“In prison? Yeah right, his father is a stockbroker in Neuilly.”

“I don’t believe you. He talks about the prison every day.”

Figaro takes out Paris Match from his jacket.

“See what lovely receptions they have in prison. Champagne no less.”

The young girl takes the magazine from him.

“And Flavien’s there as well!”

“You see it’s not the first time he’s lied.”

“I never want to see him again.”

“I can’t invite you to embassy receptions, but what do you say to a beer in the bar on the corner?”

“You’re nice.”

Alban joins Figaro.

“Nothing’s turning out as I planned. Rosina doesn’t interest me anymore. All I can think about is Flavien. I don’t want to be anyone but Alma.”

“That’s up to you. I’ll make you up whenever you like.”

“Teach me how to do it instead.”

At the Tiercé café, Figaro explains to Rosina the charm of Picon liqueur with bitter. She bursts out laughing and lets herself be kissed.

“You know, I saw Flavien with his new girlfriend and I’m not at all jealous.”

“Much good may it do him, and much good may it do you.”

“She’s weird, that girl. Personally, I find her touching. I’d never seen her before.”

“She looks like a drag-queen.”

“Figaro! I forbid you to saying anything bad about transvestites. It’s not worthy of you.”

“Don’t forget that I’m only a working class lover.”

“That’s the least of your qualities.”

They kiss languorously in front of all the other Tiercé customers.


Il Barbiere di Siviglia by Gioacchino Rossini
The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. ...

  • [TRAILER] LE BARBIER DE SÉVILLE by Gioacchino Rossini
  • [EXTRAIT] LE BARBIER DE SÉVILLE by Gioacchino Rossini (Aigul Akhmetshina)
  • [EXTRAIT] LE BARBIER DE SÉVILLE by Gioacchino Rossini (René Barbera)
  • [EXTRAIT] LE BARBIER DE SÉVILLE by Gioacchino Rossini (Aigul Akhmetshina)
  • Le Barbier de Séville (saison 21/22) - Acte 2, Trio A. Akhmetshina, R. Barbera, A. Filónczyk

  • Le Barbier de Séville (saison 21/22) - Acte 1 - Filónczyk (Figaro), Barbera (Il Conte D'Almaviva)

  • Le Barbier de Séville (saison 21/22) - Acte 1, Sérénade - René Barbera (Il Conte D'Almaviva)

  • Le Barbier de Séville (saison 21/22) - Acte 1 - Scène Finale

  • Le Barbier de Séville (saison 21/22) - Acte 2 - Akhmetshina (Rosina), Barbera (Il Conte D'Almaviva)

Access and services

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Immerse in the Paris Opera universe

Follow us

Back to top