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Gioachino RossiniThe Barber of Seville Overtureb. February 29, 1792
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Biography and Program Notes
The Composer
Gioachino Antonio Rossini, born on 29 February 1792 and died on13 November 1868, was a popular Italian composer who wrote 39 operas as well as sacred music and chamber music. His best known works include The Barber of Seville, La Cnerentola, The Thieving Magpie and William Tell. A tendency for inspired, songlike melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history. A characteristic mannerism in his orchestral scoring, a long, steady build of sound over an ostinato figure, creating "tempests in teapots by beginning in a whisper and rising to a flashing, glittering storm" earned him the nickname of "Signor Crescendo".
The Opera
The Barber of Seville is an opera buffa in two acts with a libretto (based on Pierre Beaumarchais's comedy Le Barbier de Séville) by Cesare Sterbini. Set in Seville in the late 18th Century, a young Spanish nobleman, Count Almaviva is in love with the beauteous and rich Rosina, ward of the old Doctor Bartolo, who plans his own marriage to her. Along comes the meddling Figaro, the town barber and suddenly we have all the ingredients for confusion, mayhem and humor.
The Overture
The Barber of Seville is based on the first of Beaumarchais' (1732-1799) two sequential plays, the Marriage of Figaro being the second. The overture does not contain any themes from the ensuing opera. In fact, Rossini had already used it to preface at least one earlier work. However, this sparkling tuneful music encompasses the 'spirit' of the story that is to unfold on stage.
Two brash chords herald the beginning, followed by a scampering yet hesitating figure, which figures through most of the introduction; a contrasting central section is a sunny lyrical tune, which could easily have been an aria. The intro seemingly drifts to somnolence, until the opening chords jolt the music back to reality. A slightly grotesque Neapolitan dance takes center stage followed by a more jovial theme tossed between woodwinds and horns. Then begins one of Rossini's best crescendi, its headlong propulsion almost breakneck. A dramatic and sonorous chord progression in the coda suggests the overture's more serious origins, leading to the heartily assertive major key close of one of opera's most popular and best-known overtures.
Teacher Materials
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Timeline (pdf)
Sound Links
- MP3: Barber of Seville Overture (external link)
- You Tube: The Barber of Seville Overture (external link)