Lyric Opera 2019-2020 Issue 2 The Barber of Seville

Lyric Opera of Chicago | 19 PRODUCTION SPONSORS Liz Stiffel Allan and Elaine Muchin Score edited by Patricia B. Brauner. Used by arrangement with European American Music Distributors Company, U. S. and Canadian agent for Baerenreiter Verlag, publisher and copyright owner. Scenery provided by Adirondack Scenic Studios and Ravenswood Studio, Inc. Costumes provided by Steppenwolf Theatre Company Costume Shop. Lyric Opera of Chicago gratefully acknowledges the support of the Mr. and Mrs. William H. Redfield Bel Canto Opera Endowed Chair and the NIB Foundation Italian Opera Endowed Chair. Lyric Opera of Chicago wishes to thank its Official Airline, American Airlines. Projected English titles © 2001 by Francis Rizzo. APPROXIMATE TIMINGS Act 1 1 hour, 35 minutes Intermission 30 minutes Act 2 1 hour Total 3 hours, 5 minutes SYNOPSIS Time Late 18th century | Place Seville, Spain Act one Scene 1. Count Almaviva is in love with Dr. Bartolo’s ward, Rosina, and decides to serenade her at dawn. Once Figaro, resourceful barber of the city of Seville, conveniently appears, the Count enlists his help in arranging a meeting with Rosina, who knows him only as “Lindoro.” Bartolo tells a servant not to admit anyone to the house but Don Basilio. Rosina’s music teacher. Before the day is over, Bartolo hopes to marry Rosina himself. Figaro plans to bring the Count into Bartolo’s house in disguise. Scene 2. Rosina swears that “Lindoro” will be hers. Bartolo is worried that his young man could actually be Count Almaviva. Don Basilio suggests that spreading a few rumors could cool Rosina’s feelings for her admirer. Figaro reveals to Rosina that Lindoro is head-over-heels in love with her. Rosina produces a note she has written to Lindoro, and Figaro leaves to deliver it. Almaviva barges into Bartolo’s house, impersonating a drunken soldier, and is able to slip a note to Rosina. When the police appear – summoned by Bartolo – the disorderly soldier is arrested. After managing to reveal his identity to the sergeant in command, he’s immediately released, to everyone’s astonishment. Act two Bartolo suspects that the drunken soldier is an acquaintance of Count Almaviva. The Count reappears, disguised as “Don Alonso,” a music teacher substituting for the supposedly ailing Don Basilio. He produces Rosina’s note to Lindoro, saying he found it at the inn where the Count is staying. He pleases Bartolo by offering to make Rosina believe the Count is deceiving her. Rosina recognizes Don Alonso as Lindoro and uses her music lesson to express her love for him. Figaro appears, ready to shave Bartolo. He takes the old man’s keys to the linen closet, using this opportunity to steal the balcony key. When Don Basilio appears, the Count signals Bartolo about their scheme to deceive Rosina. He makes clear that Basilio must be disposed of immediately. Convinced by everyone that he is terribly ill, Basilio accepts a purse from Almaviva and departs. While Figaro shaves Bartolo, Rosina and “Alonso” plan their elopement, but Bartolo finally realizes that he has again been tricked. Rosina is miserable when Bartolo shows her her own note, convincing her that Lindoro is plotting to give her up to the Count. She offers to marry Bartolo, revealing her previous elopement plans. No sooner has Bartolo gone after the police and the notary than Figaro and the Count appear, having used the stolen key. Rosina reproaches the Count, but is delighted when he reveals his true identity. Bartolo rushes in too late to stop the wedding. He accepts the situation and gives the couple his blessing. LYRIC OPERA OF CHICAGO Anthony Freud General Director, President & CEO Sir Andrew Davis Music Director Enrique Mazzola Music Director Designate Renée Fleming Creative Consultant