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CHAN 3025M
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Opera In English Logo
CHAN 3025
(multiple CD Set)
Opera - The Barber of Seville

Rossini: The Barber Of Seville

The Classical Shop
release date: February 2000

Originally recorded in 1999


English National Opera Orchestra

Gabriele Bellini

Andrew Shore

baritone - Bartolo

Alan Opie

baritone - Figaro

Peter Snipp

baritone - Fiorello

Christopher Ross

bass - An Officer

Peter Rose

bass - Don Basilio

Della Jones

mezzo-soprano - Rosina

Jennifer Rhys-Davies

soprano - Berta

Bruce Ford

tenor - Count Almaviva

English National Opera Chorus


Goldsmiths College, New Cross, London


Brian Couzens


Ralph Couzens

Richard Smoker


Record Label
Opera In English


Vocal & Song

Opera in English

Total Time - 152:11
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Opera - The Barber of Seville



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The Barber of Seville

  An opera in two acts  
  Critical edition by Alberto Zedda  
  Libretto by Cesare Sterbini after the play Le Barbier de Séville by Beaumarchais  
  English translation by Amanda and Anthony Holden  
1 Overture 7:04
  Act I (Beginning)  
2 'Piano, pianissimo' 3:22
  Fiorello, Chorus, the Count  
3 'See how the smile of heaven' 4:18
  The Count  
4 'Hey, Fiorello!' 1:16
  The Count, Fiorello, Chorus  
5 'Thank you, thank you' 1:47
  Chorus, Fiorello, the Count  
6 'What common people!' 0:28
  The Count, Fiorello  
7 'La la la lera' 4:39
8 'Ah ha! What could be better?' 2:05
  Figaro, the Count  
9 'I cannot see him anywhere' 1:37
  Rosina, the Count, Bartolo, Figaro  
10 'Poor little innocent creature!' 2:40
  The Count, Figaro, Bartolo  
11 'My poor heart is so full of emotion' 3:09
  The Count, Rosina, Figaro  
12 'What's happened?' 1:05
  The Count, Figaro  
13 'You need only mention money' 7:59
  Figaro, the Count  
14 'In my heart a gentle voice' 2:37
15 'I can be so demure' 3:57
16 'Oh yes, I'll win the day' 0:39
17 'Good morning, Signorina' 0:45
  Figaro, Rosina  
18 'Where would I be without him?' 1:07
  Rosina, Bartolo  
19 'Who'd know?' 1:38
  Bartolo, Basilio  
20 'Innuendo, the slightest whisper' 3:47
21 'Well, what d'you think?' 3:47
  Basilio, Bartolo  
22 'So that's it!' 2:45
  Figaro, Rosina  
23 'Then it's me . . .' 5:25
  Rosina, Figaro  
24 'Now I feel so much better' 1:51
  Rosina, Bartolo  
25 'Dare you offer such excuses' 6:44
  Act I (Conclusion)  
26 'Where's the master?' 3:09
  The Count, Bartolo  
27 'Ah! How long 'til I behold her?' 6:07
  The Count, Bartolo, Rosina, Berta, Basilio  
28 'Stop this noise!' 1:14
  Figaro, Bartolo, the Count, Rosina, Berta, Basilio  
29 'Someone is at the door' 1:13
  Rosina, Berta, Figaro, the Count, Bartolo, Basilio, Chorus  
30 'Pay attention! What's the trouble?' 1:24
  Chorus, Bartolo, Figaro, Basilio, Berta, the Count, Rosina, Officer  
31 'Frozen and motionless' 3:26
  Rosina, the Count, Bartolo, Basilio, Figaro  
32 'If I may . . .' 4:54
  Bartolo, Berta, Basilio, Chorus, Rosina, the Count, Figaro  
  Act II  
33 'I've got to find the answer!' 0:54
34 'Peace and joy be yours for ever' 2:25
  The Count, Bartolo  
35 'I don't think we have met, Sir' 2:50
  Bartolo, the Count  
36 'Come along, my dear, and listen' 1:05
  Bartolo, Rosina, the Count  
37 'When a heart for love is yearning' 7:26
  Rosina, the Count  
38 'What a talent, Bravissima!' 0:40
  The Count, Rosina, Bartolo  
39 'Sweet little seventeena' 0:59
40 'Bravo, Signor Figaro' 3:07
  Bartolo, Figaro, Rosina, the Count  
41 'Don Basilio . . .' 6:38
  Rosina, the Count, Figaro, Bartolo, Basilio  
42 'Now then, Signor Don Bartolo' 3:58
  Figaro, Bartolo, the Count, Rosina  
43 'Things can't get much worse' 0:41
44 'He wouldn't trust his mother!' 0:29
45 'First the Docctor wants to marry' 3:23
46 'So this is pupil Alonso' 1:05
  Bartolo, Basilio  
47 'By force or persuasion' 2:52
  Bartolo, Rosina  
48 Thunderstorm 3:09
49 'We've made it' 1:13
  Figaro, the Count, Rosina  
50 'Almaviva, not Lindoro!' 7:08
  Rosina, Figaro, the Count  
51 'Ah! That's all we needed!' 0:25
  Figaro, the Count, Rosina  
52 'Don Bartolo' 1:00
  Basilio, Figaro, the Count, Rosina  
53 'Don't move a muscle!' 0:19
  Bartolo, Figaro, Officer, the Count  
54 'I love a happy ending' 2:27
  Figaro, Berta, Bartolo, Basilio, Chorus, Rosina, the Count  
 Bruce Ford tenor - Count Almaviva
 Andrew Shore baritone - Bartolo
 Della Jones mezzo-soprano - Rosina
 Alan Opie baritone - Figaro
 Peter Rose bass - Don Basilio
 Peter Snipp baritone - Fiorello
 Jennifer Rhys-Davies soprano - Berta
 Christopher Ross bass - An Officer
 Gabriele Bellini
  9-14 August 1994  
Bruce Ford sings the role of the barber in this sparkling recording, conducted by Gabriele Bellini.

In common with all Opera in English recordings, The Barber of Seville is available at mid-price.

Chandos has a very strong commitment to Opera in English through its association with the Peter Moores Foundation. The series has already become the world’s most comprehensive collection of Opera in English recordings ever undertaken by a record company, and is a major addition to the record catalogue.

Rossini wrote forty operas – all of them before his thirty-eighth birthday – yet a time came when he was remembered as the composer of just one: The Barber of Seville. A comedy of intrigue the original Barber (a play written by Beaumarchais in 1775) was based on the conventions of comic opera going back to the old Italian comedy of masks, with the hoariest of plots: the old guardian whose plan to marry his pretty ward is foiled by young love and clever servants; indeed Beaumarchais had originally written in with ‘numbers’ to be set to music.

With the play well established, the reigning Italian composer of the late eighteenth century, Giovanni Paisiello turned it into a comic opera which was very successful. By the time Rossini started work on it in 1816, Paisiello was out of date; the Napoleonic wars had brought forward a new audience and Rossini provided them with what they wanted: fizz, zing and speed.

As well as the best of pure comic operas in the Italian tradition, it was almost the last. Rossini’s own Cinderella of the following year, and the best remembered of Donizetti’s comic works (The Elixir of Love and Don Pasquale), have that touch of sentiment or realism that speaks from a more cushioned epoch. Comic opera was in any case going out of vogue: it didn’t suit the new order after the fall of Napoleon. But the Barber distils the old comic-opera temper, a union of the nonsensical and the ruthless.

…here is an assertion that recorded opera in English translation is alive still. But it is more than that… I maintain that the enterprise has never been more brilliantly done.

The delightful translation… is clearly enunciated, and ENO’s orchestra under Gabriele Bellini despatches Rossini’s sparkling score with great zest.
BBC Music Magazine

His [Bruce Ford] diction is exemplary, his singing stylish, and his vocal characterisation of the amorous young count both lively and engaging.
BBC Music Magazine

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