query: where does the barber of seville take place

pos: The Barber of Seville The Barber of Seville The Barber of Seville, or The Useless Precaution ( ) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's French comedy "Le Barbier de Séville" (1775). The première of Rossini's opera (under the title "Almaviva, o sia L'inutile precauzione") took place on 20 February 1816 at the Teatro Argentina, Rome, with designs by Angelo Toselli. Rossini's "Barber" has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere

neg: The Barber of Seville (Paisiello) Barber of Seville", Paisiello's version continued to be more popular by comparison. With time, however, that situation changed. As Rossini's version gained in popularity, Paisiello's diminished in parallel, to the point where it fell from the repertoire. Paisiello's version did receive revival in later years, including Paris (1868); Turin (1875); Berlin (1913); and Monte Carlo (1918). In 2005 Bampton Classical Opera gave performances of Paisiello's opera in English. The Barber of Seville (Paisiello) Il barbiere di Siviglia, ovvero La precauzione inutile ("The Barber of Seville, or The Useless Precaution") is a comic opera by Giovanni Paisiello from a libretto by

neg: The Barber of Seville (1904 film) The Barber of Seville (1904 film) The Barber of Seville (), also released as The Barber of Sevilla, or the Useless Precaution, was a 1904 French silent film directed by Georges Méliès, based on the play of the same name by Pierre Beaumarchais. It was released by Méliès's Star Film Company and is numbered 606–625 in its catalogues, where it was advertised as a "comédie burlesque en 7 actes, d'après Beaumarchais". Like several other of Méliès's longer films, two versions were released simultaneously: a complete 22-minute print and an abridged print. As with his 1904 film "Faust and Marguerite", Méliès

neg: Jim Barber (ventriloquist) Jim Barber (ventriloquist) Jim Barber is an American ventriloquist, comedian and singer who performs Internationally. Barber is best known for his unusual performance in which "Seville," his dummy, actually appears to be holding Barber, contrary to the more orthodox way used by his peers. One of Barber's more popular routines involves "Diva," a female dummy which appears to be operated by Seville (with Barber on the other side), with all three engaged in an operatic song from "The Barber of Seville" — part of the pun from which the name of Barber's act, "Jim Barber and Seville," is taken. Barber

neg: The Barber of Seville (1904 film) prepared a special film score for "The Barber of Seville", adapted from the most well-known arias from the Rossini opera. Like at least 4% of Méliès's entire output (including such films as "A Trip to the Moon", "The Impossible Voyage", "The Kingdom of the Fairies", and "The Rajah's Dream"), some prints were individually hand-colored and sold at a higher price. The film is currently presumed lost. The Barber of Seville (1904 film) The Barber of Seville (), also released as The Barber of Sevilla, or the Useless Precaution, was a 1904 French silent film directed by Georges Méliès, based on

neg: Sergei Yudin (tenor) Rossini's "The Barber of Seville" and several other productions. In 1919 Yudin returned to the Bolshoi, where he performed the repertoire that made him famous in Sergei Zimin's opera. Also he took part in a unique mock production of "The Barber of Seville Upside Down", where he performed the part of Rosina and Antonina Nezhdanova performed the part of Count Almaviva. This experiment required a great vocal mastery from the singers: Yudin, who was capable of singing falsetto parts, was singing Rosina's part in the soprano tessitura. The performance was a huge success owing to the excellent acting of the

neg: The Barber of Seville (1944 film) Culhane later called "The Barber of Seville" "one of my most satisfying achievements as a director". By 1944, Rossini's opera was a staple of American cartoon humor, with a noted earlier use in the "Looney Tunes" short "Notes to You" (1941) starring Porky Pig. Later cartoons to parody Rossini's music include "Rabbit of Seville" (Warner Bros.), "Kitty Foiled" (MGM), and "Magical Maestro" (MGM). In 1994, "The Barber of Seville" was voted #43 of The 50 Greatest Cartoons of all time, as voted by 1000 animation professionals and edited by Jerry Beck. It is the only "Woody Woodpecker" entry included in

neg: The Barber of Seville (1944 film) the list. The Barber of Seville (1944 film) The Barber of Seville is the tenth animated cartoon short subject in the "Woody Woodpecker" series. Released theatrically on April 22, 1944, the film was produced by Walter Lantz Productions and distributed by Universal Pictures. Woody arrives at "Tony Figaro's" barber shop in hopes of getting a "victory haircut" (a then-contemporary World War II reference). Finding the shop's proprietor out for an Army physical, Woody attempts to cut his own hair and those of other customers. The first customer that comes in is a Native American who asks for a quick shampoo,

neg: The Barber of Seville (1944 film) The Barber of Seville (1944 film) The Barber of Seville is the tenth animated cartoon short subject in the "Woody Woodpecker" series. Released theatrically on April 22, 1944, the film was produced by Walter Lantz Productions and distributed by Universal Pictures. Woody arrives at "Tony Figaro's" barber shop in hopes of getting a "victory haircut" (a then-contemporary World War II reference). Finding the shop's proprietor out for an Army physical, Woody attempts to cut his own hair and those of other customers. The first customer that comes in is a Native American who asks for a quick shampoo, and Woody

neg: Bruno Landi Bruno Landi Bruno Landi (25 April 1900 – 8 May 1968) was an Italian operatic tenor. Born in Volterra, Landi was a light lyric tenor ""with a clear voice, considerable extension and issue easy and very well controlled, but frequently resorted to the notes in falsetto"" who debuted in 1925 at Campi Bisenzio in the role of the Duke of Mantua in "Rigoletto". In 1927 in Florence he sang in the role of Count Almaviva in Rossini's "The Barber of Seville". In 1931 he performed again in "The Barber of Seville" at the Teatro Regio of Parma, where he returned

neg: Bruno Landi for seven seasons. He later left for Latin America, where he sang in Mexico City, Montevideo, Buenos Aires, Caracas, Santiago and Rosario. He returned to La Scala in 1939 for the world premiere of "La dama boba" of Ermanno Wolf-Ferrari. In 1947 at the Teatro Pergolesi in Jesi he was the protagonist in "Manon" with a very young Renata Scotto. His most popular roles were Count Almaviva in "The Barber of Seville" and Des Grieux in "Manon". In the forties, at the height of his vocal powers, he recorded two complete works: " The Barber of Seville " and "Rigoletto",

neg: The Barber of Seville (1944 film) dusted off and sent out the door on his way, but the angry client returns to give the woodpecker his karma. The man picks Woody up and slings him through a glass window and back inside the shop, where the woodpecker lands and is bopped by shaving mugs falling from a broken shelf. As a last touch, the barber's pole falls on Woody, whose head is seen caught inside the pole. "The Barber of Seville" was the first cartoon to feature a more streamlined character design for Woody Woodpecker, courtesy of veteran animator Emery Hawkins and art director Art Heinemann.

neg: The Barber of Seville (play) of his works, and was briefly imprisoned. Eventually he gave up writing, and set himself up as a barber surgeon. After "pensively proceeding through the two Castilles, la Mancha, Extremadura, the Sierra Morena, and Andalusia" he set up shop in Seville, where he became reacquainted with Count Almaviva, and after assisting him with some romantic troubles, was hired as the Count's personal valet. He evidently retains this position for the remainder of his life. It is after he returns to work for the Count that he marries Suzanne, though at what point he met her is unclear. Given that Suzanne's

neg: The Barber of Seville (1948 film) 500 times by the time of the film, which features several popular singers from the company. The film director is Jean Loubignac, director of photography René Colas, sets by Louis Le Barbenchon, and producer Claude Dolbert, for Codo-Cinéma. The chorus and orchestra of the Opéra-Comique are conducted by André Cluytens. The Barber of Seville (1948 film) The Barber of Seville (French: Le Barbier de Séville) is a French film directed by Jean Loubignac released in 1948. It is a screen version of the 1816 opera by Rossini based on the play by Beaumarchais (in the translation by Castil-Blaze). Filmed at

neg: The Barber of Seville (play) The Barber of Seville (play) The Barber of Seville or the Useless Precaution () is a French play by Pierre Beaumarchais, with original music by Antoine-Laurent Baudron. It was initially conceived as an opéra comique, and was rejected as such in 1772 by the Comédie-Italienne. The play as it is now known was written in 1773, but, due to legal and political problems of the author, it was not performed until February 23, 1775, at the Comédie-Française in the Tuileries. It is the first play in a trilogy of which the other constituents are "The Marriage of Figaro" and "The

neg: The Barber of Seville (play) cynical. As he says in "The Barber of Seville": "I must force myself to laugh at everything lest I be obliged to weep." Though he is normally calm, collected and intelligent, he can be irrational when angered. The name 'Figaro' was invented by Beaumarchais for this character, and it has been theorized by Frédéric Grendel that it is made from a phonetic transcription of the words "fils Caron" (Caron having been the given surname of the playwright.) The role was created in "The Barber of Seville" by Beaumarchais's friend Préville. However, when "The Marriage of Figaro" went into production almost

neg: The Barber of Seville (1948 film) The Barber of Seville (1948 film) The Barber of Seville (French: Le Barbier de Séville) is a French film directed by Jean Loubignac released in 1948. It is a screen version of the 1816 opera by Rossini based on the play by Beaumarchais (in the translation by Castil-Blaze). Filmed at the Billancourt Studios it uses the Théâtre national de l'Opéra-Comique production of the time. It was filmed in 1947, released in May 1948, and lasts around 95 minutes. The opera had been seen at all the principal lyric theatres in Paris; at the Salle Favart it had been performed over

neg: The Barber of Seville (play) "The Guilty Mother", the children of the Count and Countess are named, but no offspring from Figaro or Suzanne are referenced which suggests they remain childless. The Barber of Seville (play) The Barber of Seville or the Useless Precaution () is a French play by Pierre Beaumarchais, with original music by Antoine-Laurent Baudron. It was initially conceived as an opéra comique, and was rejected as such in 1772 by the Comédie-Italienne. The play as it is now known was written in 1773, but, due to legal and political problems of the author, it was not performed until February 23, 1775,

neg: The Barber of Seville his marriage or receiving two bullets in the head (an easy choice, Basilio says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, accompanied by the Officer and the men of the watch, but too late; the marriage is already complete. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry. The opera concludes with an anthem to love ("Amor e fede eterna, si vegga in noi regnar!"). Notes Sources The Barber of Seville The Barber of Seville, or The

neg: The Barber of Seville (Paisiello) The Barber of Seville (Paisiello) Il barbiere di Siviglia, ovvero La precauzione inutile ("The Barber of Seville, or The Useless Precaution") is a comic opera by Giovanni Paisiello from a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page. The opera was first performed on 26 September 1782 (old Russian calendar, 15 September) at the Imperial Court, Saint Petersburg. It was adapted from the play "Le Barbier de Séville" of Pierre Beaumarchais. The full title for the opera reads: ""Il barbiere di Siviglia, ovvero La Precauzione inutile, dramma giocoso per musica tradotto liberamente

neg: The Barber of Seville (play) uncle Antonio works for the Count, it seems likely she was hired on his recommendation when the Countess moved into the palace and a maid was needed for her, in which case she and Figaro would have met after the events of "The Barber of Seville." In "The Barber of Seville", Rosine claims that Figaro has a daughter, but since this is never mentioned again by any other characters or in the other plays, and since it comes up during a lie Rosine tells to conceal her relationship with the Count, it is probable that she made this up. In

neg: The Barber of Seville (1944 film) is lifted from Woody's first starring appearance in the 1941 cartoon "Woody Woodpecker", in which Woody was voiced by Mel Blanc. Ben Hardaway, also the co-storyman on "Barber of Seville", provides Woody's voice for the first time (replacing Kent Rogers, who was killed in a World War II plane crash three months after this short's release), and Lee Sweetland performs as Woody's singing voice. Hardaway would become Woody's sole speaking voice for the remainder of the decade. Finally, "The Barber of Seville" was the first Woody cartoon directed by veteran animator James "Shamus" Culhane, who had been working on Lantz's

neg: Figaro Coffee chose the name "Figaro", inspired by the opera "Barber of Seville", thus Figaro was born. Pacita and her friends wanted to set up a place where "Filipinos can get the perfect coffee and all the necessary accoutrements for coffee making”. Pacita subsequently became the CEO of Figaro, a position she retained till 2008 when the chain was sold to Jerry Liu, a Taiwanese businessman. Jose Fernando Alcantara took Pacita's place in 2008, followed by CrisMel Verano in 2009. Reena remained the Chief Operating Officer till 2008. In 1998, Pacita met Father Roger Bagao, a coffee farmer and priest from Tagaytay

neg: Grace Kelly (song) David. The lyric "So I try a little Freddie" is a reference to Queen's Freddie Mercury, to whose singing voice Mika's has been compared. On at least one occasion, Mika confirmed that he used the main melody from Figaro's famous aria "Largo al factotum", from the opera "The Barber of Seville" by Gioachino Rossini. Mika performed the song at the MTV Europe Music Awards 2007 in Munich and at the 2008 BRIT Awards at the Earls Court Exhibition Centre, London, where it was nominated for Best British Single, but lost to Shine by Take That. The song has sold over

neg: Rabbit of Seville hills and through the open stage door. He slams the door and hides himself behind it as Elmer enters and stalks, unknowingly, onstage behind the curtain. His back to the curtain, Elmer does not notice it rise nor hears the resulting applause from the audience when Bugs, using a carrot to do so, flicks the switch. The conductor, after a brief, confused glance at his watch, shrugs and starts the orchestra. This causes Elmer to flinch and then turn, wide-eyed, toward the audience. Bugs, dressed as a barber, steps out from the doorway of a staged barber shop and starts

neg: Our Gang Follies of 1938 many of the other neighborhood kids. However, "King of Crooners" Alfalfa (Carl Switzer), the star of the show, crashes the swing music based show with his off-key rendition of "The Barber of Seville", having secretly decided he is going to sing opera from now on. Spanky closes the curtain on Alfalfa and sends out another act to replace him, causing Alfalfa to walk out and take his voice "where it'll be appreciated!" With Porky (Eugene Lee) accompanying him, Alfalfa turns up at the Cosmopolitan Opera House, wanting to appear in their next opera. Barnaby (Henry Brandon), the Cosmopolitan's impresario, jokingly

neg: International Federation of Red Cross and Red Crescent Societies of the league as "a real international Red Cross" after the First World War. Several agreements about the respective roles of the organizations helped to smooth relations, beginning with the agreement of 1928, the 1997 Seville Agreement and most recently the Supplementary Measures of 2005. The Seville Agreement gives the IFRC the lead in any emergency which does not take place as part of an armed conflict (in which case the ICRC takes charge). Organizational discord has now largely subsided. International Federation of Red Cross and Red Crescent Societies The International Federation of Red Cross and Red Crescent Societies is

neg: Luca Canonici Barber of Seville", "Aida", "Die Zauberflöte", "La traviata", "La bohème", "Gianni Schicchi", "Don Giovanni", "Carmina Burana", Verdi Requiem, and Ravel's "Bolero". An art lover with long experience in the antiques trade, he has worked as an expert with private television stations, creating and presenting programs devoted to art. In 2010 he was appointed Director of the Museum of Sacred Art in Montevarchi, his native city. That same year he took part in the 60th Sanremo Music Festival where he won second place. After his success at Sanremo, which sparked a new career in crossover and pop music, he recorded the

neg: Judith Blegen Hoffmann", in 1965, where she subsequently sang Lucia, Susanna, and Zerbinetta. That same year, she appeared in Spoleto, Italy, as Mélisande in "Pelléas et Mélisande". She made her debut at the Vienna State Opera, as Rosina in "The Barber of Seville", in 1968, and the following year appeared at the Santa Fe Opera, as Emily in the premiere of Gian Carlo Menotti's "Help, Help, the Globolinks!", a role requiring her both to sing and play the violin. Her New York Metropolitan Opera debut took place on January 19, 1970, as Papagena in "The Magic Flute". She sang there over 200

neg: Trond Halstein Moe title role in "Der fliegende Holländer" at the Teatro de la Maestranza in Seville, and in November and December 2009 the role of Jack Rance in Puccini's "La fanciulla del West" at the Norwegian National Opera in Oslo. He has also performed in radio and television, everything from his own radio concerts to participation in major television productions of operas, including Edvard Grieg's "Olav Tryggvason" and Rossini's "The Barber of Seville", where he sang the title roles, as well as "Der Rosenkavalier" and Bibalo's "Macbeth". Trond Halstein Moe has appeared on many recordings, including Hjalmar Borgstrøm's opera, "Thora paa Rimol";

neg: Marta Domingo the Israel National Opera in Israel, where she was a lead soprano for two and a half years. During that period, she had leading roles in "Così fan tutte", "The Barber of Seville", "Die Fledermaus", "Carmen", "Faust", "Eugene Onegin", "Don Giovanni", "The Marriage of Figaro", "La bohème", and "Pagliacci". After she retired as soprano to raise her children, she returned to opera as a director and designer. Beginning in 1991, she directed "Samson et Dalila" for the Teatro de la Ópera in Puerto Rico. The following year, in 1992, she directed "Tosca" at La Maestranza Theater in Seville, Spain. "Rigoletto"

neg: Seville Spain, after the royal residence El Escorial. Since the 1950s it has been the seat of the rectorate of the University of Seville, together with the Schools of Law, Philology, Geography and History. In 2012, a study of experts concluded the total number of operas set in Seville is 153. Among the most popular composers who fell in love with the city are Beethoven "(Fidelio)", Mozart "(The Marriage of Figaro and Don Giovanni)", Rossini "(The Barber of Seville)", Donizetti "(La favorite)", and Bizet "(Carmen)". Seville became the dean of the Spanish provincial press in 1758 with the publication of its

neg: The Guilty Mother The Guilty Mother The Guilty Mother () subtitled "The Other Tartuffe" is the third play of the "Figaro" trilogy by Pierre Beaumarchais; its predecessors were "The Barber of Seville" and "The Marriage of Figaro". This was the author's last play. It is rarely revived. Like the earlier plays of the trilogy it has been turned into operatic form, but it has not entered the general opera repertoire. The characters of Figaro and his associates were so popular that other dramatists had written sequels to "The Barber of Seville" and "The Marriage of Figaro", most notably M-N Delon, who brought out

neg: La Cenerentola La Cenerentola Rossini composed "La Cenerentola" when he was 25 years old, following the success of "The Barber of Seville" the year before. "La Cenerentola", which he completed in a period of three weeks, is considered to have some of his finest writing for solo voice and ensembles. Rossini saved some time by reusing an overture from "La gazzetta" and part of an aria from "The Barber of Seville" and by enlisting a collaborator, Luca Agolini, who wrote the secco recitatives and three numbers (Alidoro's "", Clorinda's "" and the chorus ""). The facsimile edition of the autograph has a

neg: Figaro chain Figaro chain Figaro is a popular gold or silver link chain design that incorporates a pattern of 2 or 3 small circular links with 1 elongated oval link. The most notable figaro chains are manufactured in Italy. They are usually worn by men and are often adorned with pendants such as crosses and medallions. The name of the chain was widely used by Italian chainmakers inspired by the operas "The Barber of Seville" (by Gioachino Rossini) and "The Marriage of Figaro" (by Wolfgang Amadeus Mozart). These operas were based on the plays "The Barber of Seville" and "The Marriage of

neg: Michigan Opera Theatre Maria Ewing who sang in the 1970 "The Barber of Seville" production; Leona Mitchell, who sang Bess in the company's 1975 production of "Porgy and Bess"; Kathleen Battle, whose 1975 performance as Rosina in "The Barber of Seville" marked her operatic debut; Catherine Malfitano, who created the role of Catherine Sloper in MOT's world premiere staging of "Washington Square" in 1976. Other notable artists include The Metropolitan Opera's Jerome Hines, a bass, who in 1974 sang the title role of "Boris Godunov"; Nicole Cabell who sang Musetta in "La bohème" in 2005, a few months after winning the BBC Cardiff

neg: IllumiNations "Circle of Life" Versions of "A Worldwide Celebration" and General Electric's theme were played. Still celebrating the 25th anniversary of Walt Disney World Resort, but the classical music returns. 1. "Remember The Magic" - World Showcase Salute (Based on the Walt Disney World 25th Anniversary tune) [1996] 2. "IllumiNations Fanfare" [1997] 3. Russian Dance - "Trepak" from The Nutcracker Ballet [1892] 4. "Die Meistersinger Overture" from Die Meistersinger von Nürnberg [1862-67] 5. "Laideronette, Empress of the Pagodas" from "Ma Mére l'Oye" (Mother Goose Suite) [1910] 6. "Barber of Seville Overture" from Il barbiere de Siviglia (The Barber of Seville) [1816]

neg: Figaro chain Figaro" by Pierre Beaumarchais. Figaro chain Figaro is a popular gold or silver link chain design that incorporates a pattern of 2 or 3 small circular links with 1 elongated oval link. The most notable figaro chains are manufactured in Italy. They are usually worn by men and are often adorned with pendants such as crosses and medallions. The name of the chain was widely used by Italian chainmakers inspired by the operas "The Barber of Seville" (by Gioachino Rossini) and "The Marriage of Figaro" (by Wolfgang Amadeus Mozart). These operas were based on the plays "The Barber of Seville"

neg: Eugenia Tadolini year in the theatre's first performances of two Rossini operas – as Amenaide in "Tancredi" and as Bianca in "Bianca e Faliero". Tadolini's husband was a close friend and admirer of the composer who was also living in Bologna at the time. In 1830, she sang in a "soirée" at Rossini's house there, the highlight of which was Rossini himself singing an aria from "The Barber of Seville". She also sang Zoraide in Rossini's "Ricciardo e Zoraide" in its first performance at the Théâtre-Italien in Paris (23 October 1830). Although the Rossinian repertoire (including Rosina in "The Barber of Seville")

neg: Lawrence Brownlee in Rossini's "The Barber of Seville" with Virginia Opera. Brownlee made his Metropolitan Opera debut in a new production of "Il Barbiere di Siviglia" in 2007. The role has since become one of his most recognizable and famous. He has subsequently appeared in "Il Barbiere" in Vienna, Milan, Berlin, Madrid, Dresden, Munich, Baden-Baden, Hamburg, Tokyo, New York, Washington, San Diego, Seattle, and Boston. Brownlee's career highlights include performances of "The Barber of Seville" at the Vienna State Opera, the Boston Lyric Opera and Madrid's Teatro Real. He has appeared in Rossini's "L'italiana in Algeri" and "La Cenerentola" at Milan's La

neg: Oscar (1991 film) the original French version". The film score was composed by Elmer Bernstein and is based around Gioachino Rossini's "Barber of Seville". In the Varese Sarabande edition of film soundtrack, there are liner notes from John Landis about the score: The opening track is "Largo Al Factotum" from "The Barber of Seville", performed by Earle Patriarco. Track "Cops and Real Crooks" concludes "Finucci Piano Boogie" composed and performed by Ralph Grierson. The Varese edition of the film's soundtrack also contained four songs which appeared during the film: "Sweet Georgia Brown" (performed by Bing Crosby), "Rockin' in Rhythm" (performed by Duke Ellington

neg: Nir Kabaretti Real in Madrid ( Cenerentola, Die Walküre ), The Israeli Opera ( Fidelio, Manon Lescaut ), Lausanne Opera ( Nino Rota's Il Cappello di Paglia di Firenze, Die Fledermaus), Avenches Opera Festival Nabucco, The Barber of Seville, Madama Butterfly) and The New National Theatre in Tokyo (The Barber of Seville). He also conducted The Diary of Anne Frank by Fried, a visiting production of the Vienna State Opera, at both the Bregenz Festival and at Expo 2000 in Hannover . In 2005 Kabaretti lead Teatro San Carlo di Napoli on its first tour to Japan conducting Il Trovatore both in

neg: Stanford Olsen in the Met's touring production in July 1988. His first leading role on the mainstage of the Met was as Count Almaviva in Rossini's "The Barber of Seville" in October 1989. He sang several more large roles at the Met over the next eight years, including Alfred in "Die Fledermaus", Fenton in "Falstaff", Idreno in "Semiramide", the Italian Tenor in "Der Rosenkavalier", and Tonio in "La fille du régiment". His final appearance at the Met was as Don Ottavio in "Don Giovanni" in 1997. In 1987 Olsen performed Count Almaviva in "The Barber of Seville" with the Wolf Trap Opera

neg: Sigrid Arnoldson She later had further studies in Paris. She made her professional opera debut in 1885 at the Prague National Theatre as Rosina in Gioachino Rossini's "The Barber of Seville". The part became her calling card at a number of important houses, including her first and very successful appearances at the Bolshoi Theatre in Moscow in 1886. That same year "The Musical Times" reported that Franz Liszt had predicted "a brilliant career" for her. Arnoldson made her London debut in 1887 in Gioachino Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane along with Fernando de Lucia, Mattia Battistini

neg: Fernando Carpi di Torino with Rosina Storchio in a production conducted by Ettore Panizza. In May 1914, he appeared as at the Teatro Regio di Parma as Count Almaviva in "The Barber of Seville", with Riccardo Stracciari, Graziella Pareto and Gaudio Mansueto. That same year he sang Alfredo in "La traviata" at the Teatro Comunale di Trieste, with Rosina Storchio as Violetta and Gabriele Santini conducting. In February 1916 Carpi sang at the Paris Opera, again as Ernesto in "Don Pasquale", with William Niola, Giuseppe Danise, and Elvira de Hidalgo. On 5 June 1916, he sang in "The Barber of Seville" at

neg: Elvira de Hidalgo Seville", which would become her best-known role. Following her debut, de Hidalgo was quickly engaged for Paris, where she sang Rosina opposite Feodor Chaliapin as Don Basilio. Appearances in Monte Carlo, Prague, and Cairo followed. Her debut with the New York Metropolitan Opera occurred in 1910, as Rosina. With that company, de Hidalgo sang in "Rigoletto" (with Enrico Caruso) and "La sonnambula" (with Alessandro Bonci) in the same season. She would return to the Met in 1924-25, for "The Barber of Seville" (directed by Armando Agnini), "Rigoletto" (conducted by Tullio Serafin), and "Lucia di Lammermoor" (with Beniamino Gigli). Following that

neg: Mickey Katz Plays The Music of Mickey Katz". The 2003 British movie Wondrous Oblivion featured Katz' "The Barber of Schlemiel" (a parody of The Barber of Seville) in a scene where the Jewish main character played the record for his Jamaican neighbor. Katz supplied the voice of the character Hop-a-Long Catskill on the "Beany and Cecil" cartoon series on ABC-TV in 1962. Catskill was a frog, and the role was a parody of the role of Chester on the television series "Gunsmoke". His primary function, in the few episodes in which he appeared, was to serve bad coffee and provide even worse

neg: The Barber of Seville (1944 film) "Swing Symphonies" for a year prior, Culhane would continue to direct entries in the series until 1946. A parody of Gioacchino Rossini's opera of the same name, "The Barber of Seville" is noted for its uses of speed, timing, and music synchronization. During the shaving of the second client, several shots are presented in rapid succession, some lasting only one-fourth of a second. Woody's demeanor and attitude are designed to match the music, during the famous "Figaro" portion of the tune, Woody splits into three, then four, then five instances of himself, in less than two seconds of screen time.

neg: John Rhys Evans from the Metropolitan Opera and New York City Opera. After living three years in Mexico City, Evans moved to Washington D.C. where he continued his singing career, but opted for lesser roles with the Washington Opera at the Kennedy Center Opera House (1988-1994) and the Wolf Trap Opera (Barber of Seville). He was active singing in the British Embassy Players and the St. David's Welsh American Society. He also conducted many singing festivals in Washington D.C. and Baltimore. John Rhys Evans recorded the role of the Police Officer on an EMI recording of "The Barber of Servill"e with Victoria de

neg: The Barber of Seville opera at the Teatro Argentina in Rome was a disaster: the audience hissed and jeered throughout, and several on-stage accidents occurred. Furthermore, many of the audience were supporters of one of Rossini's rivals, Giovanni Paisiello, who played on mob mentality to provoke the rest of the audience to dislike the opera. Paisiello had already composed "The Barber of Seville" and took Rossini's new version to be an affront to his version. In particular, Paisiello and his followers were opposed to the use of basso buffo, which is common in comic opera. The second performance, however, was successful. The original French

neg: Geltrude Righetti article by Stendhal, she wrote her famous memoir entitled "Cenni di una donna già cantante sopra il Maestro Rossini...", which includes an account of the première of "The Barber of Seville". Geltrude Righetti Geltrude Righetti (1793–1862) was an Italian contralto closely associated with the operas of Gioachino Rossini. (Her name is also sometimes given as Giorgi-Righetti or Righetti-Giorgi, Giorgi being the name of her husband.) Born in Bologna, she also studied and made her debut there in 1814. The following year she created the important role of Rosina in "The Barber of Seville" and in 1817 she was the first

neg: Manuel García (tenor) portrayed The Duke of Norfolk and "The Barber of Seville", in which he portrayed the role of Count Almaviva. In 1816, he visited Paris and London, England. Between 1819 and 1823, he lived in Paris, and sang in operas such as "The Barber of Seville", "Otello", and "Don Giovanni". His elder daughter was the celebrated mezzo-soprano Maria Malibran, and his second daughter was Pauline Viardot, a musician of consequence and, as a singer, one of "the most brilliant dramatic stars" of her time. His son, Manuel Patricio Rodríguez García, after being a second-rate baritone, became a world-famous vocal pedagogue, "the

neg: Bojan Šober Fabiano Monica. In 2004 he recorded a combination DVD and CD of "The Barber of Seville" for Portuguese TV with José Ferreira Lobo and the "Orchestra du Nord". In 1997 he debuted as an opera stage director with the "Barber of Seville" at the "National Opera House of Rijeka". His other productions include Puccini's "Madama Butterfly" in Jefferson, Louisiana, US, in 1999; and "La Traviata" in Mississauga (Canada) in 2002. 1996-1999 Sober was artistic director of the National Opera house Ivan pl. Zajc in Rijeka 1997-1998 was a general manager of the National Theater in Rijeka as well. As of

neg: Boston Lyric Opera Boston Lyric Opera Boston Lyric Opera (BLO) is an American opera company based in Boston, Massachusetts, founded in 1976. In the 2018-2019 season, Boston Lyric Opera will produce "The Barber of Seville", "Schoenberg in Hollywood"; "The Rape of Lucretia"; and the east coast premiere of Poul Ruder's "The Handmaid's Tale". "The Barber of Seville", Gioachino Rossini's celebrated classic, will be performed from October 12th-21st at the Cutler Majestic Theatre and directed by Rosetta Cucchi, with Argentine mezzo-soprano Daniela Mack as the feisty Rosina. As a part of BLO's new work commissioning program, the world-premiere of Tod Machover and Simon Robson's

neg: Bartolus de Saxoferrato not applicable, Bartolus was held in high esteem. He influenced civilian writers such as Alberico Gentili and Richard Zouch. Due to Bartolus' fame, his name was used for the character of a lawyer in many Italian plays. A well-known example is Dr. Bartolo in Pierre Beaumarchais' "The Barber of Seville (play)", Gioachino Rossini's opera "The Barber of Seville" and in Mozart's "The Marriage of Figaro". Primary Sources Secondary Sources Catalogs: Bartolus de Saxoferrato Bartolus de Saxoferrato (Italian: "Bartolo da Sassoferrato") (131313 July 1357) was an Italian law professor and one of the most prominent continental jurists of Medieval Roman Law.

neg: The Barber of Seville (play) why he has followed her to Seville, by way of singing his answer to the tune of the song. Figaro tells the Count that Rosine is the ward of Dr. Bartholo, and adds that as he is the doctor's barber and apothecary, he frequents the house. He proposes a plan to smuggle the Count into the house by disguising him as a drunken soldier in need of lodging. The two are interrupted when they overhear Dr. Bartholo making plans to secretly marry Rosine during the night, before he leaves to see his friend Bazile, who is to make the arrangements.

neg: The Barber of Seville (Paisiello) dal francese, da rappresentarsi nel Teatro Imperiale del corte, l'anno 1782"" (Trans: "The Barber of Seville, or The Useless Precaution, comical drama with music freely translated from the French, presented at the Imperial Court Theater, the year 1782") The story essentially follows the original Beaumarchais play, and in some places directly translates songs and dialogue. The plots of the Paisiello and the Rossini versions very closely resemble each other, with subtle differences. Petrosellini's libretto puts a greater emphasis on the love story and less on the comic qualities. Several musical adaptations of "Il barbiere di Siviglia" predated the version by

neg: Yvonne Brothier repertoire at the Opéra-Comique also included Rosina ("The Barber of Seville"), Micaëla ("Carmen"), Olympia ("Les contes d'Hoffmann"), Melisande ("Pelléas et Mélisande"), Mireille, Rosenn ("Le roi d'Ys"), Minka ("Le roi malgré lui") and Zaire ("Les Indes galantes"). On 26 November 1921, Yvonne Brothier sang the la Marseillaise and airs from "Mireille" and "The Barber of Seville" over the radio from the Sainte-Assise transmitter. Her voice reached the rooms of the Lutetia forty kilometres away in Paris. Brothier appeared at the Paris Opera in 1931 in the first performance of "Virginie" by Alfred Bruneau, later singing Sophie in "Der Rosenkavalier" and Rosine

neg: Figaro Here, Figaro There Figaro Here, Figaro There Figaro Here, Figaro There (Italian: Figaro qua, Figaro là) is a 1950 Italian historical comedy film directed by Carlo Ludovico Bragaglia and starring Totò and Isa Barzizza. The title and the plot allude to "The Barber of Seville". It was made at the Scalera Studios in Rome. The film's sets were designed by Alberto Boccianti. The protagonist of the film, set in the eighteenth century, is Figaro, the barber of Seville, which is likely to be arrested because although there is a ban opens his shop on Sundays. Figaro is a friend of a nobleman who

neg: The Barber of Seville (1944 film) In prior shorts, Woody had had a more grotesque appearance, including buck teeth, a receding chin, and thick stubby legs. Heinemann removed these features, and restructured Woody's body to conform to the modern animation standards in use for characters such as those appearing in Disney and Warner Bros cartoons. In tandem with the use of the new Woody design, "The Barber of Seville" was the first Woody Woodpecker cartoon to use the standardized opening title card, animated by Hawkins, featuring Woody popping out of a log, asking "Guess Who?!", and delivering his trademark laugh. The audio for this opening sequence

neg: The Barber of Seville (play) resigns himself. As a consolation he is given Rosine's dowry money to keep. Giovanni Paisiello's opera based on the play was first performed in 1782, but it is Gioachino Rossini's opera, "The Barber of Seville", premiered in 1816, that has better stood the test of time. Other lesser-known adaptions include those by Nicolas Isouard in 1796, Alexander Reinagle and Samuel Arnold in 1794, and Francesco Morlacchi in 1816. Figaro is inspired by the Commedia dell'arte character of Brighella, and like his predecessor he is a clever liar; moral and yet unscrupulous; good humored, helpful and brave, though somewhat embittered and

neg: Gioachino Rossini so successful that the fame of Paisiello's opera was transferred to Rossini's, to which the title "The Barber of Seville" passed as an inalienable heritage. Later in 1822, a 30-year-old Rossini succeeded in meeting Ludwig van Beethoven, who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: "Ah, Rossini. So you're the composer of "The Barber of Seville". I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature." Between 1815 and 1823 Rossini

neg: The Amazing Race 24 to the dairy farm for that tramway and traded the empties for full jugs. The team member then carried the full jugs back to the gondola and down to their dog, before bringing the dog and full milk jugs to the milk truck for their next clue. Airdate: May 4, 2014 During the Pit Stop, all teams were started at the cable car station in Engelberg to start the leg. In the Roadblock, teams paid homage to the opera "The Barber of Seville" by becoming a barber in Seville. One team member had to properly apply shaving cream to a

neg: Rabbit of Seville Rabbit of Seville Rabbit of Seville is a Warner Bros. "Looney Tunes" theatrical cartoon short released in 1950. It was directed by Chuck Jones and written by Michael Maltese. The cartoon, in a plotline reminiscent of "Stage Door Cartoon", features Bugs Bunny being chased by Elmer Fudd into the stage door of the Hollywood Bowl, whereupon Bugs tricks Elmer into going onstage, and participating in a break-neck operatic production of their chase punctuated with gags and accompanied by musical arrangements by Carl Stalling, focusing on Rossini's overture to "The Barber of Seville". Stalling's arrangement is notable in that the overture's

neg: The Barber of Seville (play) they have never spoken to each other. Figaro happens to come down the street, singing a song (""Bannissons le chagrin""); he and the Count recognize each other. While the two men talk, Dr. Bartholo and Rosine come to a window of the house. Rosine pretends to drop a piece of sheet music from her window inadvertently. While the doctor is coming down the stairs to retrieve it, Rosine instructs the Count to pick up the sheet himself. He does, and finds a note from Rosine hidden inside it; in the note she asks him to explain who he is and

neg: The Barber of Seville house, this time disguised as a priest who is also a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his master. While Almaviva pretends to give Rosina her singing lesson, Figaro arrives to shave Bartolo. Bartolo demurs, but Figaro makes such a scene he agrees, but in order not to leave the

neg: The Barber of Seville (play) fight with Bartholo. She recognizes the Count ("Lindor") and becomes calm. The Count accompanies Rosine on the piano as she sings (""Quand, dans la plaine""). Lulled by the music, Bartholo keeps falling asleep; each time he does so the Count begins kissing Rosine, the music stops and the Doctor wakes up, forcing Rosine and the Count to scurry back to their music, and the "lazzo" repeats. After the lesson, the doctor sings his own song to Rosine (""Veux-tu, ma Rosinette""). Figaro arrives and tries to distract Dr. Bartholo by shaving him so that Rosine and the Count will be alone

neg: The Barber (Seinfeld) forcibly shaves his entire head. Throughout this episode, the familiar "Seinfeld" slap-bass incidental music is replaced with selections from Gioachino Rossini's "The Barber of Seville" overture. The Barber (Seinfeld) "The Barber" is the 72nd episode of the NBC sitcom "Seinfeld". It is the eighth episode of the fifth season, and first aired on November 11, 1993. At a job interview, George's interviewer, Mr. Tuttle, is cut off mid-sentence by an important telephone call, and sends George away without saying whether he has been hired or not. Mr. Tuttle told George that one of the things that make George such an

neg: Angelo Toselli Angelo Toselli Angelo Toselli (c.1765, Bologna – 1827?), Italian artist, architect, scenographer, and vedutista. In 1816 in Rome (?) was teaching the art of perspective to Orest Kiprensky who just arrived into Italy at the time. Kiprensky in his letters to Russia asked to take care of his mentor as "he is a good human being". While in Rome Toselli created a stage designs for "The Barber of Seville" by Gioachino Rossini premiered under the title "Almaviva, o sia L'inutile precauzione" at the Teatro Argentina 20 February 1816. In 1816 was invited by the administration of the Imperial Theatres to

neg: Angelo Toselli by Pietro Gonzaga were used for decoration the concrete walls of the private Museum for Architectural Drawing in Berlin (arch. Sergei Tchoban and Sergey Kuznetsov, 2013). Angelo Toselli Angelo Toselli (c.1765, Bologna – 1827?), Italian artist, architect, scenographer, and vedutista. In 1816 in Rome (?) was teaching the art of perspective to Orest Kiprensky who just arrived into Italy at the time. Kiprensky in his letters to Russia asked to take care of his mentor as "he is a good human being". While in Rome Toselli created a stage designs for "The Barber of Seville" by Gioachino Rossini premiered under

neg: Maria Malibran role of Count Almaviva in his "The Barber of Seville". García was also a composer and an influential vocal instructor, and he was her first voice teacher. He was described as inflexible and tyrannical; the lessons he gave his daughter became constant quarrels between two powerful egos. Malibran first appeared on stage in Naples with her father in Paër’s "Agnese", when she was 8 years old. When she was 17, she was a singer in the choir of the King's Theatre in London. When prima donna Giuditta Pasta became indisposed, García suggested that his daughter take over in the role

neg: Woody Woodpecker simplified color scheme and a brighter smile, making him much more like his counterparts at Warner Bros. and MGM. Nevertheless, Culhane continued to use Woody as an aggressive lunatic, not a domesticated straight man or defensive homebody, as many other studios' characters had become. The follow-up to "The Barber of Seville", "The Beach Nut", introduced Woody's original chief nemesis, Wally Walrus. Woody's wild days were numbered, however. In 1946, Lantz hired Disney veteran Dick Lundy to direct Woody's cartoons. Lundy rejected Culhane's take on the series and made Woody more defensive; no longer did the bird go insane without a

neg: International Committee of the Red Cross interaction and cooperation with the ICRC. In 1997, the ICRC and the IFRC signed the Seville Agreement which further defined the responsibilities of both organizations within the movement. According to the agreement, the Federation is the lead agency of the movement in any emergency situation which does not take place as part of an armed conflict. From its inception in 1930 until 2006, the Magen David Adom organization, the Israeli equivalent to the Red Cross, was not accepted as part of the Federation, as it used the Star of David, which the ICRC refused to recognize as an acceptable symbol.

neg: The Barber of Seville (play) Doctor's home. After being promised money, and afraid the Count will seek revenge on him if he refuses, Figaro devises a variety of ways for the Count and Rosine to meet and talk, first as Lindor, then as Alonzo, a fellow student of the same music master, Bazile. The story culminates in the marriage of the Count and Rosine. Scene: the street in front of Dr. Bartholo's house in Seville. The Count, disguised as a poor university student, waits in hope of catching a glimpse of Rosine, whom he encountered in Madrid and has followed to Seville. To this point

neg: International Red Cross and Red Crescent Movement stage, the IFRC organizes and leads relief assistance missions after emergencies such as natural disasters, manmade disasters, epidemics, mass refugee flights, and other emergencies. As per the 1997 Seville Agreement, the IFRC is the Lead Agency of the Movement in any emergency situation which does not take place as part of an armed conflict. The IFRC cooperates with the national societies of those countries affected – each called the "Operating National Society" (ONS) – as well as the national societies of other countries willing to offer assistance – called "Participating National Societies" (PNS). Among the 187 national societies admitted to

neg: Maloja Palace centre, a ballroom and dining rooms for 700 people. As part of the reopening, to coincide with the 125th anniversary of its first opening, a performance of "The Barber of Seville" (Gioachino Rossini) took place in the hotel lobby, as part of the St. Moritz Summer Opera Festival. Every winter, on the second Sunday of March, the Engadin Skimarathon competition, the biggest skiing event in the Alps, attracting between 11,000 and 13,000 cross-country skiers each year, starts at the entrance of the hotel. A typography font called "Maloja Palace" was created in 2003 by Nick Curtis following the design of

neg: Finnish National Opera being "The Barber of Seville" in 1849. However, the Finnish Opera company soon plunged into a financial crisis and folded in 1879. During its six years of operation, Bergbom’s opera company had given 450 performances of a total of 26 operas, and the company had managed to demonstrate that opera can be sung in Finnish too. After the disbandment of the Finnish Opera, the opera audiences of Helsinki had to confine themselves to performances of visiting opera companies and occasional opera productions at the Finnish National Theatre. The reincarnation of the Finnish opera institution took place about 30 years later.

neg: Bregenz Cenci" by Berthold Goldschmidt and "The Barber of Seville" by Gioacchino Rossini. There is also a children's and youth program during and before the beginning of the festival. The lake stage ("Seebühne") is the largest open-air theater in the world, with an audience capacity of around 7,000. Since 2014, the Bregenz Jazz Festival has been held every year in June at the Kornmarktplatz. It is the successor of the "New Orleans Festival", which took place from 1999 to 2013 several days in the early summer in the inner city of Bregenz, and which was no longer supported by the initiator

neg: Magical Maestro Poochini. Later, as the performance is starting he freezes the conductor, steals his tuxedo, nose and hair, then takes his place in front of the orchestra to conduct the Great Poochini, who is unaware of the imposter in front of him. During the performance, in which Poochini (performed by the Colombian baritone Carlos Julio Ramírez) sings "Largo al factotum" from Gioacchino Rossini's "The Barber of Seville", Mysto unleashes a variety of tricks with his wand. He begins tamely by summoning rabbits and flowers, then turning Poochini into a ballet dancer, Indian, tennis player, prisoner rock-breaker and football player. Mysto's revenge

neg: Aureliano in Palmira Rossini in "Elisabetta, regina d'Inghilterra" and in "The Barber of Seville". It premiered at La Scala in Milan on 26 December 1813. 19th century "Aureliano in Palmira" was Rossini's second commission from La Scala. It opened the theatre's Carnival season with the famed castrato, Giovanni Battista Velluti as Arsace. It was the only role that Rossini wrote for the castrato voice. Rossini had originally written the role of Aureliano for Giovanni David, one of the most renowned tenors of the day. However, throat problems during rehearsals led David to withdraw from the production, and Luigi Mari took his place. The

neg: Simon Gjoni Music and Arts of Albania, where he prepared whole generations of musicians and artists, teaching the subjects of polyphony, orchestration, conducting, intonation and chamber music. In 1958, while being a teacher, he also worked for the National Theatre of Opera and Ballet of Albania, where he conducted many worldwide renowned works, which were interpreted for the first time in Albania. Such works were: Gaetano Donizetti's Don Pasquale, Ruggero Leoncavallo's Pagliacci, Gioachino Rossini's Barber of Seville, Tish Daija's "Pranvera" (), and two ballets (by Sergei Vasilenko's "Lola", and Alexander Krein's Laurencia). Under his care and passion, he recorded many works of

neg: Emma Romer at Covent Garden as Zerlina in "Fra Diavolo" and Rosina in "The Barber of Seville" (for her benefit), Miss Romer was engaged at the English Opera House, where she created the rôles of Eolia in John Barnett's "The Mountain Sylph" and Zulima in Edward Loder's "Nourjahad", under the management of Samuel James Arnold. In the winter she returned to Covent Garden, where, in 1835, as Amina in "La sonnambula", she "reached the topmost round of the ladder of fame", according to the "Theatrical Observer". But she immediately afterwards declined a minor part, and threw up her Covent Garden engagement. Subsequently,

neg: Giuseppe Taddei 1948, saw his debut at the Salzburg Festival, La Scala in Milan, and the Teatro di San Carlo in Naples. His American debut took place at the San Francisco Opera in 1957, followed by his appearance with Lyric Opera of Chicago in 1959. He sang regularly at the Royal Opera House in London from 1960 to 1967. Taddei was equally effective in comedy and drama. His acting repertoire included the two Figaros, from "The Marriage of Figaro" and "The Barber of Seville", both Leporello and Don Giovanni in "Don Giovanni", both Belcore and Dulcamara in "L'elisir d'amore", as well as

neg: Cyndia Sieden 1984, she made her European debut in the Ruth Berghaus production of "The Barber of Seville" (Silvio Varviso conducting) at the Bavarian State Opera; her American debut also took place in 1984, in "La Fille du Regiment" in Tampa, Florida. Since then, she has moved among the Baroque, classical, romantic and modern/contemporary repertoire at most of the world’s great opera houses, including Munich's Bavarian State Opera, Paris's Opéra Bastille, Barcelona's Gran Teatre del Liceu, La Monnaie in Brussels, and London’s Royal Opera House and English National Opera, as well as in Beijing and Australia. Her Metropolitan Opera, debut was in

neg: Sári Barabás at the Vienna State Opera, in "The Barber of Seville", "The Magic Flute" and "Capriccio", where she established a reputation as a soprano of agility and glamorous personality. She made guest appearances as Gilda, at the Royal Opera House in London in 1951, and at the Glyndebourne Festival, where she sang Konstanze in "Die Entführung aus dem Serail", Adele in "Le comte Ory", and Zerbinetta in "Ariadne auf Naxos" to great acclaim. She made her American debut at the San Francisco Opera in 1950, as the Queen of the Night in "The Magic Flute". She also sang operetta, and enjoyed

neg: Larisa Rudakova Larisa Rudakova Larisa Rudakova () is a Russian soprano singer. Rudakova was born in Yekaterinburg and then somewhere in the 1990s moved to Moscow where he attended and then graduated from the Moscow Conservatory in 1992. There she was under guidance from Irina Maslennikova, and following that was hired by the Bolshoi Theatre where she became a terrific performer because she sang the role of "Rosina" 11 times in the Gioachino Rossini’s "The Barber of Seville". By 1993 she became the soloist of the theatre. She used to travel for performances as well to such opera houses as Metropolitan, Hamburg

neg: Reno Andreini where he notably portrayed Turiddu opposite Eugenia Burzio's Santuzza and Pasquale Amato's Alfio in a lauded production of Pietro Mascagni's "Cavalleria rusticana". Other roles he sang at Palermo that year included Edgardo in Donizetti's "Lucia di Lammermoor" and Almaviva in Rossini's "The Barber of Seville". In 1905 he sang Hoffmann for his debut at the Teatro Costanzi in Rome and in 1906 he toured Russia where he was seen as the Duke of Mantua in Giuseppe Verdi's "Rigoletto" at both the Mariinsky Theatre in St Petersburg and the Solodovnikov Theatre in Moscow. In 1907 Andreini returned to Italy to join

neg: Clarissa Ocampo (1995) Rosina in “The Barber of Seville” (1995) Romeo in “I Capuletti ed I Montecchi” (1993) Third Spirit in “The Magic Flute” with the Juilliard Opera Theater. (1992) "DISCOGRAPHY:" “Cradle Songs”, IJH Productions 2004, Boston, MA USA. Cradle Songs won “Best Lullaby Album”, and “Best Classical Album” at the 2004 Children’s Music Awards, chosen by over 120 schools worldwide. "FELLOWSHIPS AND AWARD GRANTS:" University of California Santa Barbara – Vocal Institute Fellowship Grant, where she performed in a number of song recitals, and a master class conducted by Mignon Dunn. Aspen Music Festival Chamber Music Fellowship Grant in Colorado, where

neg: Luigi Zamboni Luigi Zamboni Luigi Zamboni (1767 – 28 February 1837) was an Italian operatic buffo bass-baritone. He was born in Bologna, where he began his singing career in 1791 in a production of Cimarosa's "Il fanatico burlato". Engagements followed in Naples, Parma, Venice and Rome, where he sang in operas by Valentino Fioravanti, Paisiello and others. He retired from the stage in 1825. He died in Florence. The part of Figaro in "The Barber of Seville" was written for Zamboni by Gioachino Rossini, who was also a family friend. Zamboni created the role in Rome on 20 February 1816. In 1829

neg: Anna de Belocca Anna de Belocca Anna de Belocca (née de Bellokh) (4 January 1854 – unknown ), was a Russian-born operatic contralto. She was born in St.Petersburg, where her father was an Imperial Russian Councilor of State. After studying in St. Petersburg with Henriette Nissen-Saloman and in Paris with Nicolas Lablache and Maurice Strakosch, she made her stage debut in Paris at the Théâtre Italien as Rosina "The Barber of Seville". She also appeared there in the title role of "La Cenerentola" and as Arsace in "Semiramide". She appeared in various cities in Europe, including London, where she made her debut with

neg: Luigi Zamboni Zamboni managed an Italian opera company in St Petersburg for two seasons, performing Rossini and other works. Luigi Zamboni Luigi Zamboni (1767 – 28 February 1837) was an Italian operatic buffo bass-baritone. He was born in Bologna, where he began his singing career in 1791 in a production of Cimarosa's "Il fanatico burlato". Engagements followed in Naples, Parma, Venice and Rome, where he sang in operas by Valentino Fioravanti, Paisiello and others. He retired from the stage in 1825. He died in Florence. The part of Figaro in "The Barber of Seville" was written for Zamboni by Gioachino Rossini, who

neg: Teatro Argentina the Argentina Theatre from 1807 to 1815, was a "theatre fanatic" who continued until his death to run up debts. Rossini's "The Barber of Seville" was given its premiere on 20 February 1816, just after Duke Francesco's death and, in the 19th century, the premieres of many notable operas took place in the theatre, including Verdi's "I due Foscari" on 3 November 1844 and "La battaglia di Legnano" on 27 January 1849. From 1919 to 1944, more musical offerings than dramatic ones were presented, although the theatre premiered works by Luigi Pirandello, Henrik Ibsen and Maxim Gorky during this time.

neg: Barber Institute of Fine Arts "Miss Bentham" (1906), its first American painting, and only the second of Bellows' paintings to enter a public collection in the United Kingdom. The institute also has one of the world's largest coin collections, especially of Roman and Byzantine coins. This outstanding collection was supplemented in 1967 with 15,000 coins, from Phillip Whitting and Geoffrey Haines. Many concerts take place at the Barber throughout the year, as well as a music festival which is held in June. 860 items of the Shaw-Hellier collection are held at the Barber's music library. Barber Institute of Fine Arts The Barber Institute of Fine

neg: Eugène Prévost (musician) and went with her to Le Havre. After his stay in Rome in 1833 he made his debut as a composer with the world premiere of the Opéra bouffe "Cosimo ou le peintre badigeonneur" 1835 at the Opéra-Comique, where several more of his operas were performed until 1839. In 1838 he was engaged as a conductor at the Théâtre Français in New Orleans, where he introduced himself with a performance of "The Barber of Seville". In addition to works by contemporary Italian and French composers such as Gaetano Donizetti and Daniel-François-Esprit Auber, he performed several operas of his own. 1841

neg: Inno delle nazioni The first performance of the cantata took place at Her Majesty's Theatre (at the time under the leadership of James Henry Mapleson) on 24 May 1862, after a performance of "The Barber of Seville". "Every member" of Mapleson's company participated in the performance supplemented by 200 choristers of Jules Benedict's Vocal Association – the entire ensemble conducted by Luigi Arditi. Marvin feels that the controversy surrounding the genesis of the work makes it difficult to gauge contemporaneous reception. A review in the "Revue et gazette musicale" (1 June 1862) underscores the difficulty: "<nowiki>[The]</nowiki> unprecedented, incomprehensible conduct <nowiki>[the commissioners showed]</nowiki> to

neg: Selma Kurz took place on February 12, 1927. This appearance, as Rosina in "The Barber of Seville", closed one of the most glorious operatic careers in the twentieth century. Her very last public appearance occurred in September 1932 at the baptism of Archduke Stefan (1932–1998), son of Archduke Anton and Princess Ileana of Romania. Although already mortally ill, the Imperial and Royal "Kammersängerin" sang Mozart's "Ridente la calma" and the Bach-Gounod "Ave Maria" as a gesture to the baby's grandmother, Queen Marie of Rumania, who had long been a close personal friend. She died nine months later. Form the outset Selma Kurz

neg: St Margaret of Antioch Church, Leigh Delamere A new organ was installed in 1896, and electricity supplied in 1949, although attendance by this time was very low. The building was designated as Grade II* listed in 1960, and the roadside lychgate as Grade II in 1988. The church was closed as a regular place of worship in 1992. In the 21st century a 15th-century stone rood which had been hidden under the pews was restored by Minerva Conservation and placed in the chancel. In 2016 the church was used as a venue for "pop-up" opera with a performance of The Barber of Seville. St Margaret of Antioch

neg: Largo di Torre Argentina as standing "in porticu Minucia" and therefore its exact site depends on that of the porticus. The Teatro Argentina was an 18th-century opera house and theatre located in the square. The premieres of many notable operas took place there. They include Gioachino Rossini's "The Barber of Seville" in 1816 and Giuseppe Verdi's "I due Foscari" in 1844 and "La battaglia di Legnano" in 1849. Located in "Largo Argentina" is the Torre Argentina Cat Sanctuary, a no-kill shelter because in Italy there is a no-kill law for homeless cats (of which Rome has many), and is guided by a group of

neg: Enrico Di Giuseppe Treigle and Beverly Sills, conducted by Julius Rudel and directed by Tito Capobianco. He would go on to perform twenty-six roles at City Opera over sixteen years, in operas such as "The Barber of Seville", "The Magic Flute", "Der Rosenkavalier", "Cavalleria rusticana", "Tosca", "Manon", "Gianni Schicchi", "Madama Butterfly", "Faust", "Capriccio", "La traviata", "La bohème", "La Cenerentola", "Lucia di Lammermoor", "Rigoletto", "Un ballo in maschera", "Roberto Devereux", "Don Giovanni" (directed by Frank Corsaro), "Maria Stuarda", "Anna Bolena", "I puritani", "La fille du régiment", "Attila", "The Makropulos Case", and "Mefistofele". Di Giuseppe's Metropolitan Opera debut took place less than five years after

neg: Barber paradox a "man in our town"). Such a variation is not considered to be a paradox at all: the true barber paradox requires the contradiction arising from the situation where the barber's claim applies to himself. Notice that the paradox still occurs if we claim that the barber is a man in our town with a beard. In this case, the barber does not shave himself (because he has a beard); but then according to his claim (that he shaves all men who do not shave themselves), he must shave himself. In a similar way, the paradox still occurs if the