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It was Manuel Garcia's troupe that first performed "Il Barbiere di Siviglia" in New York, and four of the parts in the opera were played by members of his family. The opera was given twenty-three times in a season of seventy-nine nights, and the receipts ranged from $1843 on the opening night and $1834 on the closing, down to $356 on the twenty-ninth night.
The catalogue of his works is immense, including fifty operas alone, of which in a necessarily brief sketch it has been possible to mention only those best known. "Il Barbiere di Siviglia," an opera buffa in two acts, words by Sterbini, founded on Beaumarchais's comedy, was first produced at the Argentina Theatre, Rome, Feb. 5, 1816, with the following cast: ROSINA Mme.
The history of what is popularly called Italian opera begins in the United States with a performance of Rossini's lyrical comedy "Il Barbiere di Siviglia"; it may, therefore, fittingly take the first place in these operatic studies. The place was the Park Theatre, then situated in Chambers Street, east of Broadway, and the date November 29, 1825.
When Logotheti reached the door of the drawing-room, Margaret was finishing Rosina's Cavatina from the Barbiere di Siviglia in a perfect storm of fireworks, having transposed the whole piece two notes higher to suit her own voice, for it was originally written for a mezzo-soprano. Lady Maud and Van Torp had gone out upon the terrace unnoticed a moment before Margaret had begun to sing.
In opera buffa, a field in which his talents shone even more brilliantly, his earliest success was made with 'L'Italiana in Algeri' , which was followed in 1815 by the world-famous 'Barbiere di Siviglia. This was originally produced in Rome under the name of 'Almaviva, and strangely enough, proved an emphatic failure. For this, however, the music was scarcely responsible.
Seymour, played three overtures Weber's Ruler of the Spirits, Beethoven's Prometheus, and Rossini's Barbiere di Siviglia; and that Chopin performed an Andante and Scherzo, and a Nocturne, Etudes, and the Berceuse of his own composition. With regard to Chopin we read in this critique: With the more instrumental portion of the audience, Mons.
Paisiello deserves to be remembered as the first man to write an opera on the tale of 'Il Barbiere di Siviglia. This work, though coldly received when it was first performed, ended by establishing so firm a hold upon the affections of the Italian public, that when Rossini tried to produce his opera on the same subject, the Romans refused to give it a hearing.
A generation also lies between them, and they ought to bear a relationship to each other something like that existing between "Le Nozze di Figaro" and "Il Barbiere di Siviglia." Indeed, the bond ought to be closer, for one man wrote books and music as well of the Grail dramas, whereas different librettists and different composers created the Figaro comedies.
I have told the story of "Il Barbiere di Siviglia" as it appears in the book. It has grown to be the custom to omit in performance several of the incidents which are essential to the development and understanding of the plot.
She sang Rosina's song in the Barbiere di Siviglia as she had never sung it in her life, and for the first time the words pleased her. ... una vipera saro! What 'nice English girl' ever told herself or any one else that she would be a 'viper'? Two days later Margaret was somewhat surprised by an informal invitation to dine at the Turkish Embassy.
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