Classical Music | Violin Music

Recorded on 01/23/2012, uploaded on 01/23/2012

Musician's or Publisher's Notes

Described as the opera buffa of all opera buffe, Il barberie di Siviglia (The Barber of Seville) is certainly among Rossini’s most famous operas. But, it has not always been in such favor with all crowds. The play on which the opera is based—the first in a trilogy of plays by the French dramatist Pierre Beaumarchais (the second became Mozart’s famous The Marriage of Figaro)—depicts the nobility as bumbling buffoons incapable of doing anything without their crafty and sly servants, and was considered subversive at the time of its writing in the late 1700s. Yet, more directly related to Rossini’s opera, was the existence of a previous opera also based on Beaumarchais’s play composed by the Italian composer Giovanni Paisiello and was quite popular in the early 1800s. Rossini had misgivings about composing a new opera based on the same text and out of respect specifically sought out the permission of Paisiello to do so. Though Paisiello gave his permission to Rossini, who had even gave his new opera a new title, Paisiello’s ardent followers were less than pleased with the development. When Rossini premiered the opera in Rome on February 20, 1816, given under the title Almaviva, Paisiello’s supporters effectively sabotaged the performance, resulting in an unmitigated disaster. Though they sought to only turn the audience against Rossini’s rendition of Beaumarchais’s play, they were aided by the ill-preparation of the premiere and faulty stage effects that malfunctioned during the performance. However, not long afterwards, a second performance was given, with better preparation and free from the influence of Paisiello’s followers, and was a resounding success. Rossini’s opera soon surpassed Paisiello’s in fame. As a testament to its long-lasting success, The Barber of Seville continued to be staged even when operas of the bel canto period were rarely performed.

Among the several popular numbers from The Barber of Seville is the aria Largo al factotum (“Make way for the factotum”) sung by Figaro at his entrance in Act I. A former servant of Count Almaviva, Figaro is called upon by his former employer to help him woo Rosina, the ward of the cantankerous Dr. Bartolo. He approaches singing, both lauding the high life he lives because of his “do-everything” position and lamenting the constant pleas for his help by the nobility. The aria is considered a pièce de résistance because of the technical challenges resulting from its repetitive triplets and tongue-twisting lyrics.       Joseph DuBose

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Largo al factotum, from The Barber of Seville    Giaocchino Rossini

Mario Castelnuovo-Tedesco began his career as pianist, and studied composition with Ildebrando Pizzetti.  He wrote much chamber music, solo piano music, and songs, and also several operas.  Jascha Heifetz performed Castelnuovo-Tedesco's First and Second Violin Concertos, and the composer’s brilliant and humorous paraphrase on "Largo al factotum", a virtuosic romp through Rossini's most famous buffo aria from The Barber of Seville, was especially intended for the "no-holds-bar" approach of the inimitable virtuoso violinist.    Wen Lei Gu

Courtesy of International Music Foundation.