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© Wiener Staatsoper
The Barber of Seville
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Synopsis
ACT 1
In front of Doctor Bartolo's house
Under the balcony of a stranger whom he has admired from afar for weeks, Count Almaviva sings a serenade, accompanied by musicians engaged by his servant Fiorello. The barber Figaro appears.
He is a former servant of the Count and knows the beautiful stranger: it is Rosina. As the barber to her guardian, Doctor Bartolo, he has access to his house. Rosina appears on the balcony and drops a letter before Doctor Bartolo can intervene. In the letter, she asks her admirer to explain his intentions and expresses her absolute determination to "break her chains".
The Count introduces himself to Rosina with a song as the poor student Lindoro - the young woman should choose him out of love and not because of his high status. Figaro explains that Doctor Bartolo wants to marry Rosina in order to obtain her dowry. He suggests to the Count that he should disguise himself as a soldier and enter the house with a billeting order. To appear harmless, he should also pretend to be drunk.
In the house of Doctor Bartolo
Rosina is determined to use all her skill and disobedience to win Lindoro despite Bartolo's resistance. Doctor Bartolo suspects that Rosina and Figaro are up to something against him.
He first questions Rosina, then the housekeeper Berta and the servant Ambrogio, but receives no information. Rosina's music teacher Don Basilio tells Doctor Bartolo that Rosina's secret admirer, Count Almaviva, has been seen in the city. Doctor Bartolo decides to marry Rosina the very next day. Don Basilio proposes to discredit the Count by slandering him.
Figaro has overheard them and tells Rosina about Bartolo's plans. Rosina is particularly interested in Lindoro, whom she has seen with Figaro. Figaro claims that Lindoro is his cousin and is very much in love with Rosina. Figaro demands a letter for Lindoro - but Rosina has already written it. Bartolo discovers Rosina's secret correspondence and announces that she is to be watched even more closely.
Disguised as a drunken soldier, the count breaks into Bartolo's house. His attempt to deliver a letter to Rosina leads to a riot, which calls the town guard to the scene. Their officer wants to arrest the supposed soldier as a troublemaker. When he inconspicuously reveals himself to be the Count, he immediately rescinds his order - to the utter dismay of everyone present.
ACT 2
In the house of Doctor Bartolo
The Count appears again: he has now disguised himself as the music teacher Don Alonso and pretends to be standing in for Don Basilio, who is ill.
He tells the suspicious Bartolo that he is staying at the same inn as Count Almaviva, where he has come across an amorous ticket from Rosina. He wants to use it to discredit the Count with Rosina. Bartolo agrees and calls Rosina to a singing lesson. Rosina recognizes her admirer Lindoro in Don Alonso, and Figaro arrives to shave Doctor Bartolo. Following a tip from Rosina, he manages to steal the key to the balcony door. The sudden appearance of Don Basilio threatens to blow the Count's cover. Inconspicuously, he slips Don Basilio a gift of money and with combined forces, Don Basilio is forced out of the house.
Figaro tries to distract Bartolo from the two lovers, but Bartolo hears a careless word from the Count and sees through the deception. The Count and Figaro flee. Don Basilio expresses his suspicion to Bartolo that Don Alonso has been sent by Count Almaviva. Doctor Bartolo now wants to push ahead with his marriage to Rosina all the more urgently and sends Don Basilio to fetch the notary. Bartolo presents Rosina with the ticket as proof that Don Alonso and Figaro wanted to drive her into the arms of Count Almaviva. Rosina, stunned by this news, agrees to marry Bartolo. She also reveals that Figaro and her suitor are planning to enter the house at midnight to abduct her. When Figaro and the Count arrive, Rosina pushes back the supposed matchmaker Lindoro, whose deception she believes she has seen through. When Lindoro reveals himself to be Count Almaviva and confirms the seriousness of his intentions, Rosina is overjoyed.
Don Basilio appears with the notary. Figaro explains that those present are his niece and Count Almaviva, whose wedding the notary is to perform that evening in Figaro's house. The notary has the marriage contract with him. The Count offers the reluctant Don Basilio a choice between a precious ring and two bullets in the head. Don Basilio chooses the ring and signs the marriage contract as best man. Doctor Bartolo has summoned soldiers and demands the arrest of the burglars. When Count Almaviva reveals himself to him, refers to the valid marriage contract and gives Bartolo Rosina's dowry, the latter accepts his defeat.
ACT 1 - 100 MIN
INTERMISSION - 25 MIN
ACT 2 - 65 MIN
Program and cast
Count Almaviva: Edgardo Rocha
Bartolo: Paolo Bordogna; Marco Filippo Romano*
Rosina: Maria Kataeva; Patricia Nolz*
Don Basilio: Erwin Schrott; Bryn Terfel*
Figaro: Andrzej Filończyk; Stefan Astakhov*
Musical direction: Diego Matheuz; Marco Armiliato*
Direction and stage: Herbert Fritsch
Costumes: Victoria Behr
Light: Carsten Sander
*11 June 2025; 13 June 2025; 16 June 2025; 19 June 2025
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Vienna State Opera
Public Transport
Subway lines: U1, U2, U4
Trams: 1, 2, D, J, 62, 65
Buses: 59A
Local Railway: Badner Bahn
Stops: Karlsplatz / Opera
Taxi stands are available nearby.
Parking
Parking is only € 6, - for eight hours!
The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.
Important: In order to get the discount, please draw a ticket and do not use your credit card when entering the garage!
After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.
The machines accept coins and bills up to 50.- Euro. Parking time longer than 8 hours will be charged at the normal rate.
History
The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.
On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.
The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.
On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.
The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.
Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.
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