Fígaro, between Seville and Naples

It seems probable that one of Rossini’s most resounding fiascos was perpetrated by the fans of the Neapolitan composer Giovanni Paisiello. At a time and place (Rome, 1816) where opera quickly became a question of issue life or death, the premiere of Rossini’s The barber of Seville resulted in a monumental outcry. A hostile audience denounced Rossini for having had the audacity to change the cover of the opera of the same name by Paisiello. The latter had premiered in St, Petersburg 35 years before, and, at least for his supporters, was referential and untouchable.

The young and unorthodox Rossini had learned much from the head of the Escuela Napolitana, who died four months after the booing of the new, insolent Barber. Paisiello, on the other hand, passed on to a better place with his fame intact. It is true that his amicable, elegant and sentimental style was coming to the end of its days, but until then he had managed to maintain the attention of the audience and the rest of his colleagues, among them Mozart himself. Despite his devotees, however, the Rossini tornado swept over the opera buffa model created by Paisiello. So very Sevillian and a true son of Beaumarchais, the original El barbero de Sevilla is less famous but much more than a rarity. A splendid conductor, Lucas Macías is Chief Conductor of the Oviedo Filarmonía since 2018, Artistic Director of the Orquesta Ciudad de Granada since 2020 and recently named Chief Conductor of the Real Orquesta Sinfónica de Sevilla. He leads this absolute premiere at the Teatro de la Maestranza. A joyful discovery for curious spirits.

Ópera cómica in four acts by Giovanni Paisiello
Libretto by Giuseppe Petrosellini based on the work Le barbier de Séville by Pierre-Augustin de Beaumarchais
Premiere on 26 September 1782 at the Imperial Theatre of St. Petersburg (Russia)
First time at the Teatro de la Maestranza
 

Opera in concert version