Il Barbiere di Siviglia Transmission Transcript
READ: Costanzo Show Intro
ANTHONY ROTH COSTANZO: Hey, Wanda. How’s your voice feeling today? Did you warm up? Do you feel like you’re ready to go on stage? I think you look great. I think it’s perfect. How are you feeling? You look fabulous.
Oh, hi! I’m Anthony Roth Costanzo and I am so excited to be your host today for Rossini’s Il Barbieri di Siviglia, one of opera’s greatest comedies. And the world could certainly use a few laps these days. Don’t you think so, Wanda? Do you want a little bit of a carrot? What do you say? Save some for me, all right? (Laughs)
Rossini’s winning formula of madcap hijinks and vocal fireworks has made the opera an perennial bright spot in the repertory of opera companies around the world for more than 200 years. And this whimsical production directed by Tony Award-winner Bartlett Sher prov ides the perfect comedic setting.
Today, we have a dynamic young cast infusing fresh energy into this timeless classic. Baritone Andrey Zhilikhovsky sings the title role of Figaro, Seville’s favorite barber and jack-of-all-trades. Tenor Jack Swanson making his Met debut, is the dashing Count Almaviva, who hires Figaro to help him win the beautiful Rosina away from her elderly guardian who keeps her under lock and key. Rosina is played by mezzo sensation Aigul Akhmetshina, demonstrating her comic flair. Maestro Giacomo Sagripanti is ready to go in the pit and launch the rousing overture. Here is Il Barbieri di Siviglia.
INTERVIEW: Costanzo w/ Aigul Akhmetshina
ANTHONY ROTH COSTANZO: I am with our fabulous Rosina, Aigul Akhmetshina. Aigul, hello.
AIGUL AKHMETSHINA: Hello. So nice to see you.
ANTHONY ROTH COSTANZO: Oh, my God. It’s me who’s lucky to hear and see you. You sound amazing. Are you having as much fun as it looks like you’re having?
AIGUL AKHMETSHINA: We do. We definitely do. And at the end of the show we are completely crazy. (Laughs)
ANTHONY ROTH COSTANZO: (Laughs) You mean you didn’t start it crazy?
AIGUL AKHMETSHINA: Well, in the beginning there’s a – you’re crazy because you’re a bit, uh, nervous –
ANTHONY ROTH COSTANZO: Yeah.
AIGUL AKHMETSHINA: – for the show, especially when it’s, uh, Live HD, you know that so many countries are connected and watching at the same time with us. And, yeah, you’re crazy in that way. But after the singing, you – you feel like oh, my God – especially after this finale. It’s insane.
ANTHONY ROTH COSTANZO: Yeah, with all of these crazy antics around you, how do you do Rossini’s vocal gymnastics? It must be hard to balance.
AIGUL AKHMETSHINA: Well, for me, the – the thing is, uh, if I understand the character, if I, uh, if I feel the character, if I’m living as Rosina, I have a reason every time to sing that ornamentations. All the coloraturas, there is a reason why she is singing in. For that reason it becomes very easy for me. Uh, but if I don’t understand the character, there – there I will have a problem. I will be like, uh, a mess on stage probably. (Laughs)
ANTHONY ROTH COSTANZO: I love when you’re – you’re motivating every note, every ornament and –
AIGUL AKHMETSHINA: Well, Rossini used a sense of humor to deal with life, with the difficulties of life. And in every – his opera, nobody dies at least, which is the good thing. He gives us hope. And the good thing is that – because his story’s quite dark. Like, uh, Bartalo is keeping Rosina kind of in prison and she’s like, stuck, she wants to escape. And after, he wants to marry her. It’s such a weird and dark story. But Rossini uses a sense of humor to show that as a – as a comedy. And I think in life, we also need to use comedy too to go over some life difficulties. (Laughs)
ANTHONY ROTH COSTANZO: It’s true, it’s true. But comedy’s hard and you have this incredible chemistry with the cast. How do you develop that? How does that work in rehearsal?
AIGUL AKHMETSHINA: I think the magic was that we all are quite energized. We all have the same energy with, uh, my fantastic colleagues, with, uh, Jack Swanson and, uh, Andrey Zhilikhovsky. And everyone is just so playful and everyone knows what they do. They have their, uh, like – they’re fully in the character but also there is, uh – they use their own personality. And for that reason it’s just like, I don’t know, we – we energize each other, we improvise. And it’s like playing ping-pong. We just reply to each other’s situations. And sometimes something doesn’t work on stage and you must improvise.
ANTHONY ROTH COSTANZO: That’s so smart. That’s the way to do it, and we can really feel it. Now, I want to ask you about “Una Voce Poco Fa.” That is a hard aria. There’s so much ornamentation. If you think about it, what was Rossini looking for when he wrote it?
AIGUL AKHMETSHINA: Um, excitement – I think excitement of a first love.
ANTHONY ROTH COSTANZO: Yeah.
AIGUL AKHMETSHINA: Because Rosina says, I heard this voice and finally I hear it – I – I feel with very, very different feelings. It’s like butterflies in your, uh, belly for the first time. And you don’t know are you sick or you’re in love? (Laughs) The same feelings.
ANTHONY ROTH COSTANZO: (Laughs) I – you know what? You excite me so much and you excite all of us about opera. So, I know you have to take a break and get ready for Act Two.
AIGUL AKHMETSHINA: Thank you so much.
ANTHONY ROTH COSTANZO: Aigul, thank you for speaking to us and toi toi toi for the rest.
AIGUL AKHMETSHINA: Thank you, thank you so much.
READ: Constanzo Throw to Tape
ANTHONY ROTH COSTANZO: As we saw in Act One of Figaro, the Barber of Seville makes one of the most memorable entrances in all of opera singing the dazzling “Largo al factotum.” This tune long ago broke through the walls of the opera house and it became an indestructible part of pop culture. From cartoons to television commercials, everybody knows it.
We recently sat down with our conductor, Giacomo Sagripanti and our Figaro, Andrey Zhilikovsky, to gain their insights.
ROLL-IN B: “Largo al factotum” with Giocomo Sagripanti & Andrey Zhilikovsky
GIOCOMO SAGRIPANTI: So, the big success of The Barber of Seville is about this precise aria. The first aria that, uh, uh, Figaro sings.
ANDREY ZHILIKOVSKY: My – my first entrance is. Uh, on the top of the carriage, you know. And from the backstage, I start to sing... (Singing) And the musically, it’s like, uh – (Singing) – like a holiday, you know. It’s a happiness… (Singing)
GIOCOMO SAGRIPANTI: “Largo al factotum della città!” So, so, “Here I am! I am the boss – I am the – I am the best one.” And he doesn't say this to, to the Count or somebody onstage. He talks with the audience with this very strong and bright character. Very, very, very forte, we say in Italian. And that’s why this wonderful aria – sparkling aria, fast tempo – it shows all the personality of Figaro.
ANDREY ZHILIKOVSKY: Inside, it’s a lot of control. It’s a lot of work – really, really hard work. But for the auditorium, onstage, you have to be funny, like nothing to do. Like, oh – but it’s hard, you know?
GIOCOMO SAGRIPANTI: A singer, to be a good Figaro –- first of all, he needs to sing all the notes, which is already a big challenge.
ANDREY ZHILIKOVSKY: It’s not la la la la… it’s la la la la…
GIOCOMO SAGRIPANTI: So he needs to be, uh, athletic, vocally and physically. He needs to have a good charisma, good aura to the audience. He needs to catch the audience. So he needs to be good, very good, in one shot.
ANDREY ZHILIKOVSKY: We have a lot of staging. At the same time, we have to understand where we are with the orchestra.
GIOCOMO SAGRIPANTI: Suddenly, it’s like a minor, and a bit cloudy moment. For 10, 15 seconds, we are thinking that maybe Figaro could be also a little bit mean. He uses this position – maybe he can do whatever he wants. Maybe he can cheat somebody, and it’s what he does. So it means, like, you have to be good with people, but also you have to be able to play. He shows this dark side, and then happy again. No? So that’s why we love him. A bit of a devil.
ANDREY ZHILIKOVSKY: I adore my job, you know, I adore this, this ‘amazing world of, uh, art. And I just do my maximum, my best, I don’t know, moments, vocal, technical, a lot of small things. And, uh, if it’s good, thanks God. If people like it, thanks. I’m happy.
GIOCOMO SAGRIPANTI: The end of the cavatina, “Largo al factotum,” is something like, very special. He switches the tempo in right one second . There is like a “Trum, trum, trum, trum, trum...” And faster, faster. And this man is singing so fast every single word in Italian. “Ah, bravo Figaro! Bravo, bravissimo. Ah, bravo Figaro!,” and you're like, “This is not possible!”
It’s the best way to show the ability and the virtuosismo of a Rossinian baritone, as Figaro is. And at the end, high notes – the G! Figaro is the key of the opera. Figaro is the opera, okay?
READ: Costanzo Neubauer / Johnson / Throw to break
ANTHONY ROTH COSTANZO: You know what? It doesn’t get any more show-stopping than “Largo al factotum.” The Met’s Live in HD series is made possible thanks to its founding sponsor, the Neubauer Family Foundation. Digital support is provided by Bloomberg Philanthropies. The Met Live in HD series is supported by Rolex.
Today’s performance of Il Barbiere di Siviglia is also being heard over the Robert K. Johnson Foundation Metropolitan Opera International Radio Network. We’ll be back after a break.
READ: Costanzo PSA / Fundraising / Throw to tape
ANTHONY ROTH COSTANZO: Welcome back. And I hope you had an orange or a carrot. Today marks the final Met movie theatre presentation of our season. Over the past eight months, we have witnessed the powerful contemporary story of Jeanine Tesori’s Grounded and an epic new vision for Verdi’s Aida. Soprano Lise Davidsen demonstrated her extraordinary dramatic range in Puccini’s Tosca and Beethoven’s Fidelio. And just two weeks ago, soprano Elza van den Heever gave a searing performance in the title role of Strauss’s Salome.
But as remarkable as these productions were on the big screen, a cinema transition simply can’t compare to the immediacy and power of live opera in the opera house. So, next time you’re in New York, I encourage you to come to the Met or visit your local opera company for an unforgettable live experience.
I just mentioned a small handful of the highlights of the current Live in HD season which has featured a striking mix of contemporary works, new productions and classic stagings. As you can imagine, presenting this range of repertoire and production styles and sharing them with a global audience is tremendously costly. Ticket sales, they only cover a fraction of the Met’s production expenses. So, the company relies on opera-lovers like you to help make up the difference. So, I ask you please consider making a contribution to the Met. If you’re able to make a donation you can visit us at metopera.org/donate, you can also text HDLIVE to 44321 or make a contribution by calling us at 212-362-0068. And we thank you for your invaluable support.
Today is the last HD transmission of the season but the Met has already announced the eight compelling productions the company will screen next season. Here’s a look at what’s in store for you.
INTERVIEW: Costanzo w/ Peter Gelb
ANTHONY ROTH COSTANZO: Wow. Such an exciting lineup. Joining me now to talk about the new cinema season, it is my honor to talk with Met General Manager Peter Gelb. Hi, Peter.
PETER GELB: Hi, Anthony. Thank you so much for taking time out from your very busy schedule to host the show today.
ANTHONY ROTH COSTANZO: Oh, it is a thrill for me. And I’m so excited about the upcoming – coming cinema season. It features operas composed as far back as 1831 and as recently as 2022. So, I guess we’re going to hear operas in Italian, German, Russian, Spanish. It’s really quite the mix. How do you do it? How do you put it all together?
PETER GELB: Well, you know, the Met is famous for its varied repertoire, of course. The only thing I regret next season is that we don’t have a countertenor role for you.
ANTHONY ROTH COSTANZO: Come on, Peter!
PETER GELB: But you’ll be – I’m sure we’ll find one for you maybe the next season.
ANTHONY ROTH COSTANZO: Okay, that sounds good.
PETER GELB: Um, you know, we – we try to, um, find a mixture of – of productions that cater to different needs. I mean, we want to have operas that are timeless classics, we want to have, uh, a way of showing that the opera – the art form of opera moves forward with new works. Uh, we look at – we look at our productions in terms of the singers. We have some amazing singers, uh, performing, uh, next season at the Met. You know, when you think about the two great lyric sopranos in the world, Nadine Sierra and Lisette Oropesa – we have two new productions for each of them in La Sonnambula and I Puritani.
And then when you think of the great dramatic singers – uh, sopranos and tenors, uh, operas like Andrea Chénier with Sonya Yoncheva and Piotr Beczała, or the great Lise Davidsen, who, by the way, just gave birth to twins last week.
ANTHONY ROTH COSTANZO: Oh, my gosh.
PETER GELB: And she’s going to come back just in time to sing the role of Isolde, which is one of the most demanding roles of any – for any Wagnerian soprano, and she may be the greatest Wagnerian soprano of many, many, many years. So, uh, and of course, we have the great Asmik Grigorian, who is going to be singing Tatiana in Eugene Onegin. So, it’s a really – you know, these are operas we choose for variety and for – for, as a showcase for these great voices.
ANTHONY ROTH COSTANZO: You’ve got the best people in the world and I hope you have a role for Lise’s twins at some point soon but –
PETER GELB: We’ll put them on the back of Wanda, the mule.
ANTHONY ROTH COSTANZO: Okay, perfect. (Laughs) I mean, you have such a breadth. I’m curious. Do you have a personal favorite that you’re looking forward to?
PETER GELB: Well, you know, I have to look forward to all of them and I do look forward to all of them. But the most important thing to keep in mind with all these operas is that we are providing, uh, relief and hope for a world sorely in need of hope. And that’s what art can do, and will do, and does do in this very difficult world today.
ANTHONY ROTH COSTANZO: Oh, we need it more than ever. And we need some inspiration. And you have some new things that people may not have heard of. For example, Frida and Diego. What about that opera will inspire us?
PETER GELB: Well, that’s a remarkable, uh, new opera by a wonderful composer named Gabriela Lena Frank. And it’s the story – uh, it’s a surreal approach to the story of the great artist, Mexican artist, Frida Kahlo and Diego Rivera. It’s a love story in which – but it’s set in the underworld at first. Because Frida is already dead and she reluctantly returns on the Day of the Dead to visit or haunt her – her husband, who has mistreated her when they were both alive, and they have a reconciliation. And it’s sort of a love – a reverse Orpheus story in which she brings Diego back with her to the underworld.
ANTHONY ROTH COSTANZO: You know, that sounds thrill – it sounds like an opera to me, so I can’t wait to see that. And, Peter, as always, the HD season is sure to dazzle audiences around the world. Thank you for speaking to me. It’s a pleasure.
PETER GELB: Thanks so much, Anthony.
INTERVIEW: Costanzo w/ Jack Swanson
ANTHONY ROTH COSTANZO: Now it is time to get back to Il Barbiere di Siviglia, but before the curtain goes up on Act Two, I’m going to speak with our highflying Count Almaviva, Jack Swanson. Hi, Jack.
JACK SWANSON: Hey, how’s it going?
ANTHONY ROTH COSTANZO: So good to see you.
JACK SWANSON: Good to see you.
ANTHONY ROTH COSTANZO: And congratulations on making your Met debut just a few weeks ago.
JACK SWANSON: Thank you, thank you.
ANTHONY ROTH COSTANZO: That’s amazing. And I want to know what do you remember most from that night?
JACK SWANSON: Oh, man, there are so many moments. Honestly, it was – this sounds crazy but it’s exactly how I dreamed it would be.
ANTHONY ROTH COSTANZO: Really?
JACK SWANSON: It was so much fun. Uh, I think – you know, I had so many family members from Minnesota come out and from all over – from Texas, Oklahoma, Florida, um, friends from all over. And just knowing that they were there and when I got to go out for like, my last aria, it was really – it was really special.
ANTHONY ROTH COSTANZO: You had – is it true you had 100 friends from Minnesota?
JACK SWANSON: Yeah, just over 100. Just over 100.
ANTHONY ROTH COSTANZO: That’s what we call a claque in opera.
JACK SWANSON: Yeah, it was nice to have, it was nice to have at the debut.
ANTHONY ROTH COSTANZO: I bet. So, I understand that you have sung Almaviva a lot. I hear in more than ten productions?
JACK SWANSON: Yeah, we’re getting there. I think this is number 13 or 14.
ANTHONY ROTH COSTANZO: What? That’s insane.
JACK SWANSON: Yeah, yeah.
ANTHONY ROTH COSTANZO: Okay. Other than it being the Metropolitan Opera, what makes this one special?
JACK SWANSON: Man, a lot of things. I mean, the Metropolitan Opera, incredible. Also, just being able to do it with this cast, with Aigul. It’s been so much fun working with her. We’ve been – actually, we met each other about nine years ago, not in a production, having no idea that we would be doing this production here. And, uh, we’re just having so much fun and, uh, we’re looking forward to singing together in the future on a whole bunch of other stages.
ANTHONY ROTH COSTANZO: You can tell you’re having fun.
JACK SWANSON: Good, good.
ANTHONY ROTH COSTANZO: And you can tell you’re a Rossini expert. So, I have to ask, what do you love most about singing Rossini?
JACK SWANSON: You know, I would say the thing I love most about Rossini is that at the end of the night, I can pat myself on the back for doing at least 80 percent of those notes well. Because Rossini wrote a lot of notes, as you can tell, and, uh, it’s really just a satisfying composer to sing.
ANTHONY ROTH COSTANZO: Yeah, well, perfection is boring. Who needs 100 percent, Jack?
JACK SWANSON: I’m with you. I’m with you. You know. (Laughs)
ANTHONY ROTH COSTANZO: You know, we spoke to Aigul earlier about this great chemistry and taking the stage together. Can you tell us, you know, when you’re in that moment, what – what lights a spark?
JACK SWANSON: Uh, well, I mean, I really would say in this piece, Rossini lights the spark. In every moment where there can be a moment between characters, you hear it in the music. So, at any moment where we’re kind of like, what’re we supposed to do right now, what is that? Boom, there it is. And, uh, yeah, that just –
ANTHONY ROTH COSTANZO: You feel the music.
JACK SWANSON: Thank you, Rossini.
ANTHONY ROTH COSTANZO: Exactly. Well, Jack, thank you for speaking to me.
JACK SWANSON: Thank you.
ANTHONY ROTH COSTANZO: And really, congrats on your Live in HD debut!
JACK SWANSON: Thank you, thank you.
ANTHONY ROTH COSTANZO: Toi toi toi.
JACK SWANSON: Enjoy the rest.
READ: Throw to Act II:
ANTHONY ROTH COSTANZO: At the end of the previous act, Count Almaviva is in pursuit of Rosina and his battle of wits with Bartalo has only just begun. When Act Two starts, the Count arrives in yet another disguise and, needless to say, comic antics ensue. Here is the hilarious and satisfying conclusion of Il Barbiere di Siviglia.