Libretto Il barbiere di Siviglia. Musica di. Giovanni PAISIELLO Il Conte. d’ Almaviva, grande di Spagna, sotto il nome di Lindoro, amante di Rosina [ ♂ ]. Opera Today: Giovanni Paisiello: Il Barbiere di Siviglia oday. com/content//06/[8/9/ AM]. ‘BARBIERE DI SIVIGLIA ‘(). BY ALFRED LOEWENBERG. ALL operas on the subject of’ The Barber of Seville ‘-and there are a good many of them-are founded .
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UBC Theses and Dissertations. In presenting this thesis in partial fulfilment of the requirements for an advanced degree at, the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further siciglia that permission for extensive copying of this thesis for scholarly purposes may du granted by the head of my department or by barbierre or her representatives.
It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Sevillewas translated into many different languages, and performed by companies all over Europe and America.
Paisiello’s work was so successful that Mozart, inspired by the idea, wrote a sequel inThe Marriage of Figaro in collaboration paixiello Da Ponte. When Rossini presented his own version of Barber of Seville in Rome inthe public hissed with indignation and outrage to demonstrate a predilection for Paisiello.
Giovanni Paisiello – was a Neapolitan composer who worked at St. Petersburg, Russia from – in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated.
Thus Le barbier de Seville, which the Empress essentially considered democratizing baarbiere harmful to the absolute monarchy, was transformed into an opera buffa, II barbiere di Siviglia, that involved harmless clowning.
II barbiere is significant because its creation demonstrates how Italian opera buffa became a bariere to distract the public from considering the issues that were in the air prior to the French Revolution.
This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities pxisiello the French play and bsrbiere Italian libretto are surveyed in order to demonstrate the Ill simplifications that had to be made.
A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello’s buffo characterization of barboere old miserly doctor will be considered through use of musical examples.
Additionally, the composer’s setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment sivigla both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way.
While the members of the middle class attempted to change the structure of society ancien regimethe authorities needed to maintain it.
Through Italian opera buffa, siviglka, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless. Epilogue 51 End Notes 53 Sivigia 60 1 I: When inthe French Revolution shocked the entire paisieklo, Catherine the Great of Russia who reigned fromcalled on the European rulers to free France from the murderers and restore the monarchy.
The czarina spoke of the harm and danger of the French philosophes and the opera comique. She is recorded as saying that France perished because of the comedies that disrupted society with their democratizing.
After its premiere in in St. Petersburg, the opera proved to be a success not only with the European monarchs, but also with the siviglai all over Europe and America. By Catherine the Great had gained power and experience. When she arrived in Russia inshe was only a fourteen year-old princess from the small German State of Anhalt-Zerbst. Her father was an impoverished prince who was resigned to serving Friedrich II of Prussia.
She came to St. Petersburg sivlglia Empress Elizabeth’s invitation to 2 become the wife of the Grand Duke Peter, heir to the throne, a political marriage indirectly manipulated by Friedrich II. As future empress, Catherine faced enormous pressures. Before her marriage she converted to the Russian Orthodox faith and adopted a new name. She learned Russian and conscientiously assimilated the culture.
She studied the people and the history of the vast country she was not only to reside in, but also to rule. Catherine’s remarkable strength of character, passionate nature, and sharp intelligence helped her to survive despite the many dangers and disappointments brbiere she had to endure.
Czar Peter in despised his wife as well as the entire empire which he was supposed to rule. Because he was brought up at the Prussian court he remained fascinated by Friedrich II and his army throughout his adult life. Thus the Czar proved to be a destructive force to Russian political interests.
Insupported by her long-time favourite Grigory Orlov and his barboere, Catherine deposed her husband. He was subsequently arrested and varbiere. The empress was exceptionally well-read and educated. In her early years in Russia Catherine spent time reading and studying the French philosophes and encyclopedistes. She openly displayed paisello influence on her. She corresponded with Voltaire and Diderot offering friendship and patronage. The philosophes, together with Rousseau were persecuted in their homeland, France, but in Russia they were given opportunity to publish and work, promoting their revolutionary ideas.
The empress even had many of the articles of the Encyclopedie translated into Russian.
Buying Diderot’s entire library, she invited him to St. Petersburg to publish the Encyclopedie which was banned in Parish By organizing performances and publications of works forbidden in France, she demonstrated her love of freedom. When Rousseau’s Emile was banned in his homeland because it was considered harmful, Catherine barbeire it published in Russia. The Russian ruler seemed to want their ideas spread among the intellectual circles of Moscow and St.
Her literary flirtation with the philosophical celebrities of Europe was so successful that Voltaire referred to her as “the northern Minerva” and “Semiramis”. The philosophes praised her as a magnanimous benefactress, hyperbolizing her image as an enlightened ruler throughout Europe.
At the same time, the thirty-four years of the “Age of Catherine” is known as one Q of the most repressive epochs in the history of Imperial Russia.
Revolutionary ideas were completely alien to the Empress. The new reforms espoused for improvement of the miserable conditions under which the majority of the population lived were not carried out.
She was a tyrant of the old order, holding her vast empire together with an iron fist.
The Barber of Seville (Paisiello) – Wikipedia
Catherine’s true interest lay in a feudal state. She established slavery by granting the Russian aristocrats the right to own the eight-hundred thousand peasants or “souls” as they were called who were formerly government property.
Her imperial order, ironically called “On the Freedom of the Aristocracy” freed the upper class from obligations such as work and service in the army.
This allowed the nobility to live idly, exploiting their slaves. Servants were mistreated, sold or sent to Siberia as punishment, traded for hunting dogs, and ruthlessly separated from their families. H Peasant uprisings, such as the popular revolt lead by Pugachov in the s, 17 were brutally barbifre.
According to Catherine, slaves and servants existed since creation. Threats to the ancien regime were suppressed with violence and censorship. If 1 had paisie,lo to him, everything would have been turned upside down in my empire: As her intellectual taste developed and grew, so did her knowledge of politics and culture. The Russian Empress recognized the power of letters, barbjere becoming a literary figure: She doctored the writings of the philosophes dl suit her own political purposes.
Il barbiere di Siviglia, R.1.64 (Paisiello, Giovanni)
In order to influence her subjects, she wrote feuilletons and plays, and banned journals that criticized her government. Moreover, Catherine understood that theatre was a powerful tool that spoke to a paisieplo n large public through the lips of fictional characters. Thus the Empress both adapted foreign comedies, and wrote her own. She was skilful at adjusting to fit the fashion of the eighteenth century, her writing style very much influenced the paisilelo irony of Marivaux, La Chausse, Diderot, Mercier, and Beaumarchais.
Her endeavours to keep up with the newest trends of the times had failed precisely because she deliberately misinterpreted the true political purpose of the theatre of the Age of Enlightenment.
She deliberately took the focus away from social problems, praising those who supported and served government policy. Her plays condemned all those dissatisfied with her regime as bigots, gossips, cowards, paieiello slanderers. In her play Oh, the Times, she denounces those who constantly complain and blame the government for their own problems.
In the same work, the Empress praised those who defended the order of the state as heroes. She was a staunch believer in authority, yet at the same time hypocritically exploited the names of the philosophes in order to keep up her liberal facade. During her reign, she built up a rich artistic patrimony. All the arts, including music, were obligatory elements in creating a civilized nation and state. Catherine invited the best and most expensive of the European painters, sculptors, engravers, and architects.
She also summoned the most expert chefs, musicians, actors, singers, and composers to her court. The Empress Catherine’s influence was batbiere upon the development of art, literature, and even music in eighteenth-century Russia.
The new concepts of enlightenment expressed through theatrical entertainment were very potent. Although soberly aware of the revolutionary connotations of satire, the empress permitted the controversial French comedies to be read and performed at her theatres in the palace, catering to her subjects by presenting barbkere with the latest entertainments from Europe. This was partly because the czarina anxiously needed to be viewed as a magnanimous, liberal ruler and in order to give Russian audiences an impression of openness and freedom in their Empire.
She proudly flaunted the barbieer of her enlightened reasoning and political conduct to her subjects and to all of the European continent. The Imperial Court of Russia was saturated with the ideals of the Paisiiello encyclopedistes, reflecting the brilliance of the Age of Enlightenment. In addition to the many reforms which involved industry, education, and administration; he was the first to invite foreign architects, artists, and engineers. He built the capital laisiello the Sivig,ia river, turning St.
Petersburg into one of the richest and most beautiful centres of culture.