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IL BARBIERE DI SIVIGLIA Selections Burgas 2026 Andrei Yurkovsky, Nikolay Motsov, Maria Yurkovskaya
Information on the Performance
- Work Title: Il barbiere di Siviglia ossia L'inutile precauzione
- Composer: Gioachino Rossini
- Libretto: Cesare Sterbini based on Pierre Beaumarchais's French comedy Libretto Text, Libretto Index
- Venue & Opera Company: Teatro Burgas, Bulgaria
- Recorded: April 21, 2026
- Type: Staged Opera Live
- Singers: Andrei Yurkovsky, Nikolay Motsov, Maria Yurkovskaya, Kostadin Mechkov, Delyan Slavoff, Nona Krastnikova, Jordan Hristozov
- Conductor: Ivan Kozhuharov
- Orchestra: Orchestra of the State Opera - Burgas
- Chorus: Choir of the State Opera - Burgas
- Chorus Master: Alexander Chepanov
- Stage Director: Alexander Tekeliev
- Stage Designer: Denis Ivanov
- Costume Designer: Denis Ivanov
Information about the Recording
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- This Recording is NOT AVAILABLE from a proper commercial or public source
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Modern interpretations, or rather free interpretations, of classic works have even influenced such a traditional genre as operetta.
The modern interpretation of the barber, as presented by the production’s authors, is captivating.
There is an inner intrigue, but the conflicts on stage are brief.
The crowd is colorful and diverse; the male characters in Elvis Presley’s trousers look interesting, although they don’t carry a particularly dramatic weight.
Figaro is young and dynamic, with a good voice and the same flared trousers, harmonious and never lost in the background.
Of her older brothers in this genre, Rosina is cheerful and lively, standing out for her artistry and her desire to absorb it.
She doesn’t fit the stage set, has a powerful soprano voice, and sounds good from afar with a trumpet.
The upper left corner of the stage, from which certain features very similar to a penis are periodically projected, is a hidden subtext. The creators of this version want to amuse the audience a little, balancing on the edge of what is allowed. At key moments, the main character’s underwear periodically falls off, a dramatic revelation that adds excitement not intended by the author of the work, and doesn’t allow the audience to be distracted.
The appearance of the sanitary and epidemic service at the end of the final scene brings extra excitement to the hearts of the audience, the eternal question “Will he take you away?” Throughout the entire play, Don Maviva is subjected to numerous twists and turns, including the interference of Dr. Bartolo, who treats women exclusively, arousing genuine interest in his specialty, which apparently did not exist at the time of the play’s creation. Bertha, the maid, is extremely attractive and presumably not indifferent to the doctor’s colorful friend, Basilio.
Emotions flare periodically, and there are no pauses where nothing happens; the narrative maintains its rhythm.
All this action is unrelated to the author’s intentions, and he did not anticipate that his work would receive such an original incarnation. Magnificent music accompanies all the dramatic clashes taking place on stage; the performers play and sing with delight, seemingly enjoying themselves the situations and events that befall the characters they portray.