Il barbiere di Siviglia
Royal Swedish Opera

Il barbiere di Siviglia

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A young count is in love with a clever woman who returns his feelings. But her guardian harbours his own plans for her. When jack-of-all-trades Figaro rushes to the young couple's aid, bribery, deceit and comic entanglements ensue. Will he succeed in saving the day - and love?

One of the greatest operas in the repertoire is back on OperaVision. This new production of Rossini’s comic masterpiece from Royal Swedish Opera is not only a work of sublime farce, but also a story of male friendship, class, the confrontations of generations and a young woman’s struggle for freedom. Inspired by commedia dell’arte and the idea of the house as a place charged with symbolic meaning, director Linus Fellbom, stage designer Julia Przedmojska and costume designer Lena Lindgren explore in depth Il barbiere di Siviglia - and make it sparkle. On stage, you will see singers you have already heard on OperaVision, such as the brilliant bel canto tenor Konu Kim (Count Almaviva) who stood out in Rossini’s William Tell at Irish National Opera and Donizetti’s Zoraida di Granata at Wexford Festival Opera, as well as South African baritone Luthando Qave (Figaro) heard in Purcell’s Indian Queen at Teatro Real Madrid.


Count Almaviva
Konu Kim
John Erik Eleby
Dara Savinova
Luthando Qave
Kristian Flor
Radoslaw Rzepecki
Thorvald Bergström
Matilda Wahlund
The Border Guard
Peter Achrén
Jacob Wistrand
Laban Björfors
Joakim Lundström
Martin Virin
Royal Swedish Orchestra
Gentlemen from Royal Swedish Opera Chorus
Gioachino Rossini
Cesare Sterbini
Vincenzo Milletari
Director & lighting
Linus Fellbom
Julia Przedmojska
Costumes & Make-up
Lena Lindgren
Katarina Aronsson
Chorus Master
Ines Kaun
Assisting chorus masters
Folke Alin
Martin Virin



Sneak peek at Il barbiere di Siviglia

A new take on an old favourite.

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Count Almaviva has seen Rosina, the ward of Dr Bartolo, in Madrid and fallen in love with her. He has followed her to Seville, where he pretends to be a poor student called Lindoro.

Act I 

The Count has hired some musicians to play beneath Rosina’s balcony. No response. Enter Figaro, town barber and general factotum. The Count recognises him as a former servant and confides his intentions but is interrupted by a noise from Bartolo’s house. He overhears Bartolo plotting to marry his ward later that day. Figaro persuades the Count to serenade Rosina but her reply is abruptly cut off. Encouraged by the offer of a handsome reward, Figaro devises a plan to get the Count into Bartolo’s house by dressing him up as a soldier and pretending that he has been billeted there. 

Rosina has fallen in love with her unknown admirer and is determined that he shall be hers. But Bartolo has heard rumours of Count Almaviva’s interest and is determined to thwart him. Rosina’s music master, Don Basilio, advises him that slander is a useful weapon. Figaro suggests to Rosina that she might like to encourage Lindoro by writing him a letter and is delighted to discover that she is ahead of the game. 

A knock at the door heralds the arrival of a drunken soldier demanding lodgings. In the ensuing confusion, the disguised Almaviva manages to slip Rosina a message. Bartolo’s fury at this intrusion causes such a row that the police are called. Almaviva avoids arrest by surreptitiously revealing his rank, leaving everyone utterly bewildered. 

Act II 

Bartolo tries to unravel the events of the morning. He is interrupted by the arrival of the Count, disguised this time as Don Alonso, a music teacher who claims he has come to give Rosina her singing lesson in place of Don Basilio, who is unwell. Rosina selects an aria from a new opera, The Pointless Precaution, to the disgust of Bartolo, who prefers more traditional fare. The Count manages to tell Rosina that he is her beloved Lindoro and they plan to elope at midnight. 

Figaro arrives to shave Bartolo and takes the opportunity to steal his keys. Don Basilio, in rude health, makes an unexpected appearance. He is persuaded, with some difficulty, that he has a fever and should go back to bed at once. Despite Figaro’s efforts, Bartolo overhears the two lovers whispering to one another and throws Almaviva out of the house. The maid, Berta, is left wondering if love has driven everyone mad. 

Bartolo and Basilio conclude that the mysterious Don Alonso was none other than the Count. Basilio is sent to fetch a notary at once. Bartolo confronts Rosina with the letter she sent to Lindoro and persuades her that Lindoro is the agent of Count Almaviva, who only wants to marry her for her money. Believing that she has been betrayed, she agrees to marry Bartolo and tells him about the planned elopement. 

Figaro and Almaviva break into the house via the balcony. Rosina refuses to leave until she learns that Lindoro is actually Count Almaviva himself. Their happiness is such that Figaro has the greatest difficulty in persuading them to escape. When they try to climb off the balcony they discover that the ladder has gone. All seems lost, and Basilio arrives with a notary to marry Rosina to Bartolo. Fortunately, he agrees to accept a hefty bribe and instead witnesses her marriage to the Count. Bartolo returns too late and is obliged to admit defeat.