《罗西尼《塞维利亚的理发师》 》

概况 Overview

《塞维利亚的理发师》是法国作家博马舍于1775年所写的剧本，原名《Le Barbier de Séville》。以此剧本为基础所制作的歌剧，最著名的为罗西尼作曲，史特比尼作词的二幕歌剧《Il Barbiere di Siviglia》。
简介 Introduction

《塞维利亚的理发师》是法国作家博马舍于1775年所写的剧本，原名《Le Barbier de Séville》。以此剧本为基础所制作的歌剧，最著名的为罗西尼作曲，史特比尼作词的二幕歌剧《Il Barbiere di Siviglia》。同样以上述剧本为基础所制作的歌剧还有派赛罗作曲，Nicholas Isouard 作词的版本。虽然派赛罗的版本曾经流行过一段时间，不过最终罗西尼的版本通过时间的考验而流传下来，并且自它在1816年于罗马首演后就一再地被演出。

介绍
《塞维利亚的理发师》的为自博马舍的剧本《费加洛三部曲》中第一部，《塞维利亚的理发师》(1772年)、《费加洛的婚礼》(1778年)、《有罪的母亲》(1792年)，而莫札特于1786年作曲的歌剧《费加洛的婚礼》即是基于第二部而写的。
二幕喜歌剧，以法国作家包玛蔡斯的同名讽刺喜剧为蓝本，并由史特宾尼编剧。罗西尼以短短13天一气呵成谱曲，但它的首演却不尽人意，是西欧歌剧史上十分著名的首演失败之一，失败的原因是多方面的。在罗西尼之前，当时意大利老资格的作曲家派西埃洛已将博马舍的喜剧《塞维利亚理发师》创作成歌剧。1816年，罗西尼受雇剧团的经理根据罗马教皇警察局的挑选又要他创作一部新的《塞维利亚理发师》。派西埃洛在观众中享有很高的声誉，罗西尼预料到会遇到麻烦。他事先写信给派西埃洛，请求他的准许。派西埃洛已经注意到了罗西尼这个年青的对手，回信时既客气又挖苦，说由他来批准罗马当局选定的脚本非常荣幸。尽管如此，相当多的观众仍认为罗西尼重新创作派西埃洛已经创作过的歌剧是胆大妄为，甚至感到非常气愤，1816年2月5日在罗马阿根廷剧院首次公演。首演当天，口哨声、喝倒彩声此起彼伏，观众几乎听不见演员在唱什么。第二天情况有所好转，一周以后，该剧的演出才获得巨大的成功。并与莫扎特的《费加罗的婚礼》共称为喜剧的双绝。很快成为世界各地歌剧院最重要的演出戏码之一，也使得此剧成为歌剧史上永放光芒的不朽名作。
罗西尼在剧中充分发挥了他所擅长的活泼生动的管弦乐音响流畅轻巧的旋律，以及率直畅快的节奏感，同时又把充满讽刺的愉快情节细腻地刻画出来，从剧本的情节上看来，《费加洛的婚礼》乃是《塞维里亚的理发师》的续篇。在聆听莫扎特的这部名歌剧之前，观众不妨先听听罗西尼的这部作品。

剧中人物介绍
罗西娜(Rosina)— 巴托罗的被监护人(抒情花腔女高音或次女高音)
巴托罗医生(Doctor Bartolo)— 罗西娜的监护人(男低音)
阿玛维瓦伯爵(Count Almaviva)— 当地贵族。他使用化名“林多罗”(男高音)
费加洛(Figaro)— 塞维利亚的理发师(男中音)
费欧雷罗(Fiorello)— 伯爵的仆人
巴西利欧(Basilio)— 巴托罗的同谋，一位音乐教师(男低音)
贝塔(Berta)— 巴托罗的仆人(女高音)
剧情大纲
背景：17世纪的塞维利亚，西班牙

第一幕
巴托罗医师家门前的广场
在巴托罗医师家门前有一群乐师跟一个穷学生--林多罗，正对着罗西娜的窗户唱着小夜曲(Ecco ridente in cielo)。林多罗其实是阿玛维瓦伯爵的化名，而他希望美丽的罗西娜会爱上他这个人，而不是爱上他的钱财。阿玛维瓦付钱将乐师们打发走，留下他自己独自 沉思。费加洛走近伯爵，并开始唱歌(咏叹调：Largo al factotum della città)。由于费加洛之前曾经是伯爵的仆人，所以伯爵希望他能帮他忙，安排与罗西娜碰面(二重唱：All'idea di quel metallo)。费加洛建议伯爵把自己装扮成军人，并且假装喝醉以混进巴托罗医师的家中。伯爵很高兴的赏赐费加洛。
巴托罗医师家中
(罗西娜独唱：Una voce poco fa)罗西娜写信给林多罗。当他正要离开房间时，巴托罗与巴西利欧进来。巴托罗对林多罗有所怀疑，而巴西利欧建议来散布一些关于林多罗假的流言(咏叹 调：La calunnia è un venticello)。两人离开后，换罗西娜跟费加洛进场，费加洛希望罗西娜能写些话来鼓励林多罗，而事实上他也已经写了(二重唱：Dunque io son...tu non m'inganni?)。虽然巴托罗感到讶异，但是他依旧抱持着怀疑的态度。
当贝塔想要出门时，他碰到伯爵假扮的士兵。因为对于这个醉倒的男人心有恐惧，所以贝塔寻求巴托罗的保护，而他想办法要把这个士兵移开，但没有成功。 伯爵计划着要很快借此机会告诉罗西娜他就是林多罗，而且想要给他一封信。而巴托罗想要知道在罗西娜手中的那张纸到底写些什么，但她调包只给他看一连串冗长 的清单。巴托罗跟伯爵这时开始吵嘴，而在此时巴西利欧、费加洛跟贝塔出现，这吵闹声已经引起警察的注意。巴托罗相信公爵已经被逮捕，但是伯爵只需要跟这些 警官报上他的名字就可以被释放。巴托罗跟巴西利欧感到讶异(终曲：Fredda ed immobile)。
第二幕
巴托罗医师家中
阿玛维瓦又再次出现在医生的家中，这次他换装扮成为一个歌唱家教，代替身体不舒服的巴西利欧，也就是罗西娜的歌唱老师。原先巴托罗还是觉得可疑，并 且不准阿玛维瓦进入他家，但是当他拿出罗西娜的信后才允许他进入。他描述他要让林多罗名声败坏的计划以取得巴托罗的信任。而为了不让歌唱老师单独与罗西娜 单独在一起，他叫费加洛来为他刮胡子。
这时候巴西利欧突然出现，他准备揭发他接受阿玛维瓦伯爵的贿赂假装生病，而最终巴托罗也发现了这个诡计，于是他把所有人都赶出房间，并找公证人立下 他与罗西娜之间的婚约。他拿岀罗西娜写给林多罗的信，并且告诉他林多罗只不过是伯爵旁边的仆役而已。于是罗西娜被说服答应嫁给巴托罗。
此时雷雨交加，伯爵与费加洛爬上梯子，从阳台进入房间。罗西娜把信给给伯爵看，并向他述说他遭受背叛与心碎的感觉，而伯爵也向罗西娜表明他跟林多罗 其实是同一个人，两人和好。当两人陷入爱情的狂喜时，费加洛催促他们赶快离开。当他们正准备离开时，却发现原先的梯子不见了。巴西利欧跟公证人这时来到， 而巴西利欧受到威胁是要乖乖的接受贿赂还是要吃两颗子弹(当时费加洛把枪顶在巴西利欧背后)。于是他与费加洛就成了伯爵与罗西娜结婚的证人，这时巴托罗进 入，却已经大势抵定。伯爵表明了他真正的身分，并且感谢他提供的嫁妆。一群人在欢笑声中落幕。
精彩唱段
《快给大忙人让路》：

《快给大忙人让路》歌词
“啦啦啦，啦啦啦，我来了，快给全城最忙碌的人让路，大早我就去给人理发，赶快!
我活得真开心，我多么高兴。我这个理发师实在是高明。好家伙，费加洛，他真是最好的家伙。我永远运气好，实在太好。我多么辛苦，我每天每夜在东奔西 忙，干个不停， 人人都尊敬，个个都欢迎。当一个理发师真光荣。梳子和剃刀髪针和小剪刀都放在旁边。听我指挥，业务要精通，说话要漂亮。我伺候姑娘，我招待情郎。我伺候姑 娘呀，我招待情郎，啦，啦，啦。我活得真开心，我多么高兴。我这个理发师实在高明。人人都欢迎我，人人都需要我。老头和孩子，姑娘和太太，我是塞维利亚城 里的大忙人，人人都离不开我。费加洛，给我剃胡子，给我捶捶背，替我送封信，给我跑趟腿。别忙，别乱，一个个来，请你原谅。费加洛就来。费加洛，是您哪。 费加洛来，费加罗去。费加洛上，费加洛下。我这人手脚勤快，好像是一阵风。谁办事都少不了我费加洛，好家伙，费加洛可真是个好家伙。我交好运到，我多快 乐。谁要办事情都少不了我。”

摘自：http://www.sin80.com/work/rossini-barbiere-siviglia

The Barber of Seville, or The Futile Precaution(Italian: Il barbiere di Siviglia, ossia L'inutile precauzione [il barˈbjɛːre di siˈviʎʎa osˈsiːa liˈnuːtile prekautˈtsjoːne]) is an opera buffa in two acts by Gioachino Rossini with an Italian librettoby Cesare Sterbini. The libretto was based onPierre Beaumarchais's French comedy Le Barbier de Séville (1775). The première of Rossini's opera (under the title Almaviva, o sia L'inutile precauzione) took place on 20 February 1816 at theTeatro Argentina, Rome.
Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere buffe". Even after two hundred years, it remains a popular work.

Contents

1Composition history
2Performance history
3Roles
4Synopsis4.1Act 1
4.2Act 2

Composition history
Rossini's opera recounts the events of the first of the three plays by French playwrightPierre Beaumarchais that revolve around the clever and enterprising character named Figaro, the barber of the title. Mozart's opera The Marriage of Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The first Beaumarchais play was originally conceived as an opéra comique, but was rejected as such by the Comédie-Italienne.The play as it is now known was premiered in 1775 by the Comédie-Française at the Théâtre des Tuileries in Paris.
Other operas based on the first play were composed by Giovanni Paisiello (his Il barbiere di Siviglia premiered in 1782), by Nicolas Isouard in 1796, and then by Francesco Morlacchi in 1816. Though the work of Paisiello triumphed for a time, only Rossini's version has stood the test of time and continues to be a mainstay of operatic repertoire. On 11 November 1868, two days before Rossini's death, the composer Costantino Dall'Argine (1842–1877) premiered an opera based on the same libretto as Rossini's work,bearing a dedication to Rossini.The premiere was not a failure, but critics condemned the "audacity" of the young composer and the work is now forgotten.
Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Musicologists believe that, true to form, the music for Il Barbiere di Siviglia was composed in just under three weeks,although the famousoverture was actually recycled from two earlier Rossini operas, Aureliano in Palmiraand Elisabetta, regina d'Inghilterra and thus contains none of the thematic material in Il Barbiere di Siviglia itself.

Performance history
The premiere of Rossini's opera at the Teatro Argentina in Romewas a disastrous failure: the audience hissed and jeered throughout, and several on-stage accidents occurred.Furthermore, many of the audience were supporters of one of Rossini's rivals, Giovanni Paisiello, who played on mob mentality to provoke the rest of the audience to dislike the opera.Paisiello had already composed The Barber of Seville and took Rossini's new version to be an affront to his version. In particular, Paisiello and his followers were opposed to the use of basso buffo, which is common in comic opera.The second performance met with quite a different fate, becoming a roaring success.The original French play, Le Barbier de Séville, endured a similar story: poorly received at first, only to become a favorite within a week.
The opera was first performed in England on 10 March 1818 at the King's Theatre in London in Italian, soon followed on 13 October at the Covent Garden Theatre by an English version translated by John Fawcett and Daniel Terry. It was first performed in America on 3 May 1819 in English (probably the Covent Garden version) at the Park Theatre in New York.It was given in French at the Théâtre d'Orléans in New Orleans on 4 March 1823,and became the first opera ever to be performed in Italian in New York, when Manuel Garcia (who played Almaviva) and his Italian troupe opened their first season there with Il barbiere on 29 November 1825 at the Park Theatre. The cast of eight had three other members of his family, including the 17-year-old Maria-Felicia, later known as Maria Malibran.
The role of Rosina was originally written for a contralto. According to music critic Richard Osborne, writing in The New Grove Dictionary of Opera, "it is important to record the degree to which singers have sometimes distorted Rossini’s intentions. The most serious distortion has been the upward transposition of the role of Rosina, turning her from a lustrous alto into a pert soprano."However, it has also been noted that Rossini, who frequently altered his music for specific singers, wrote a new aria for the second act for Joséphine Fodor-Mainvielle, a soprano who had sung Rosina in the 1818 London premiere, and sang the new aria c. 1820 at the Théâtre-Italien in Paris, where it was published.
The singing lesson in act 2 has often been turned into "a show-stopping cabaret."Adelina Patti was known to include Luigi Arditi's "Il bacio", the Bolero from Verdi's I vespri siciliani, the Shadow Song from Meyerbeer's Dinorah, and Henry Bishop's "Home! Sweet Home!". Nellie Melba followed suit, accompanying herself on the piano in the final song.Pauline Viardot began the practice of inserting Alexander Alyabyev's "Nightingale". Maria Callas sang a cut-down version of Rossini's own "Contro un cor."
Once after Patti had sung a particularly florid rendition of the opera's legitimate aria, 'Una voce poco fa', Rossini is reported to have asked her: "Very nice, my dear, and who wrote the piece you have just performed?"
As a staple of the operatic repertoire, Barber appears as number nine on the Operabase list of the most-performed operas worldwide.Because of a scarcity of true contraltos,the role of Rosina has most frequently been sung by a coloratura mezzo-soprano (with or without pitch alterations, depending on the singer), and has in the past, and occasionally in more recent times, been sung by coloratura sopranos such as Marcella Sembrich, Maria Callas,Roberta Peters, Gianna D'Angelo, Victoria de los Ángeles, Beverly Sills, Lily Pons, Diana Damrau, Edita Gruberová, Kathleen Battle and Luciana Serra. Famous recent mezzo-soprano Rosinas include Marilyn Horne, Teresa Berganza, Lucia Valentini Terrani, Susanne Marsee,Cecilia Bartoli, Joyce DiDonato, Jennifer Larmore, Elīna Garanča, and Vesselina Kasarova. Famous contralto Rosinas include Ewa Podleś.

Roles
Role Voice type Premiere cast, 20February1816
(Conductor: GioachinoRossini) Count Almaviva tenor Manuel Garcia Bartolo, doctor of medicine, Rosina's guardian bass Bartolomeo Botticelli Rosina, rich pupil in Bartolo's house contralto Geltrude Righetti-Giorgi Figaro, barber baritone Luigi Zamboni Basilio, Rosina's music teacher, hypocrite bass Zenobio Vitarelli Berta, old governess in Bartolo's house soprano Elisabetta Loyselet Fiorello, Almaviva's servant bass Paolo Biagelli Ambrogio, Bartolo's servant bass Officers, soldiers, policeman, a notary Synopsis
Place: Seville, Spain
Time: 18th century
Act 1
The square in front of Bartolo's house
In a public square outside Bartolo's house a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina ("Ecco, ridente in cielo"; "There, laughing in the sky"). Lindoro, who is really the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself – not his money. Almaviva pays off the musicians who then depart, leaving him to brood alone. Rosina is the young ward of the grumpy, elderly Bartolo and she is allowed very little freedom because Bartolo plans to marry her, and her not inconsiderable dowry, himself – once she is of age.
Figaro approaches singing (Aria: "Largo al factotum della città"; "Make way for the factotum of the city"). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. (Duet: "All'idea di quel metallo"; "At the idea of that metal"). Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Bartolo, so as to gain entrance to the house. For this suggestion, Figaro is richly rewarded.
A room in Bartolo's house with four doors
The scene begins with Rosina's cavatina, "Una voce poco fa" ("A voice a little while ago"). (This aria was originally written in the key of E major, but it is sometimes transposed asemitone up into F major for coloratura sopranos to perform, giving them the chance to sing extra, almost traditional, cadenzas, sometimes reaching high Ds or even Fs.)
Knowing the Count only as Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, "La calunnia è un venticello" – "Calumny is a little breeze" – is almost always sung a tone lower than the original D major).
When the two have gone, Rosina and Figaro enter. Figaro asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. (Duet: "Dunque io son...tu non m'inganni?"; "Then I'm the one...you're not fooling me?"). Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. (Aria: "A un dottor della mia sorte"; "To a doctor of my class").
Count Almaviva, disguised as a soldier and pretending to be drunk, enters the house and demands to be quartered there. In fear of the drunken man, Berta the housekeeper rushes to Bartolo for protection. Bartolo tells the "soldier" that he (Bartolo) has an official exemption which excuses him from the requirement to quarter soldiers in his home. Almaviva pretends to be too drunk and belligerent to understand, and dares Bartolo to brawl. While Bartolo searches his cluttered desk for the official document which would prove his exemption, Almaviva whispers to Rosina that he is Lindoro in disguise, and passes a love-letter to her. Bartolo suspiciously demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Bartolo and the Count argue loudly. Basilio enters; then Figaro, who warns that the noise of the argument is rousing the whole neighborhood. Finally, the noise attracts the attention of the Officer of the Watch and his troops, who crowd into the room. Bartolo demands that the Officer arrest the "drunken soldier". The Officer starts to do so, but Almaviva quietly reveals his true identity to the Officer, and he (the Officer) backs off and stands down. Bartolo and Basilio are astonished and mystified; Figaro laughs quietly at them. (Finale: "Fredda ed immobile, come una statua"; "Cold and still, just like a statue").
Act 2
A room in Bartolo's house with a piano
Almaviva again appears at the doctor's house, this time disguised as a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his master. Figaro arrives to shave Bartolo. Bartolo demurs, but Figaro makes such a scene he agrees, but in order not to leave the supposed music master alone with Rosina, the doctor has Figaro shave him right there in the music room. When Basilio suddenly appears, he is bribed by a full purse from Almaviva and persuaded to leave again, with much discussion of how ill he looks. (Quintet: "Don Basilio! – Cosa veggo!"; "Don Basilio! – What do I see?"). Figaro begins to shave Bartolo, but Bartolo overhears the lovers conspiring. He drives everybody away.
The scene returns to the location of act 1 with a grill looking out onto the square. Bartolo orders Basilio to have the notary ready to marry him to Rosina that evening. He also explains his plot to come between the lovers. Basilio leaves and Rosina arrives. Bartolo shows Rosina the letter she wrote to "Lindoro", and persuades her that this is evidence that Lindoro is merely a flunky of Almaviva. Rosina believes him and agrees to marry him.
The stage remains empty while the music creates a thunder storm to indicate the passage of time. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and expresses her feelings of betrayal and heartbreak. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, who later turn out to be Basilio and the notary. However, when the Count, Rosina, and Figaro attempt to leave by way of the ladder, they discover it has been removed. The Count quickly gives Basilio the choice of accepting a bribe and being a witness to his marriage or receiving two bullets in the head (an easy choice, Basilio says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, but is too late. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry.

From:https://en.wikipedia.org/wiki/The_Barber_of_Seville