Rossini: Il barbiere di Siviglia

Naxos: 8660027-29

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Rossini: Il barbiere di Siviglia


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First Choice - February 2017

Building a Library

Budget Choice - December 2001



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2 hours 37 minutes


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Rossini: Il barbiere di Siviglia

Sonia Ganassi (Rosina), Roberto Servile (Figaro), Ramón Vargas (Il Conte Almaviva), Angelo Romero (Dr. Bartolo), Franco De Grandis (Don Basilio), Ingrid Kertesi (Bertha)

Hungarian Radio Choir; Failoni Chamber Orchestra, Budapest, Willi Humburg

CD - 3 discs


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Gioachino Rossini: Il barbiere di Siviglia (The Barber of Seville) *


Act I No. 1: Introduzione: Piano, pianissimo

Act I: Cavatina: Ecco, ridente in cielo

Act I: Seguito dell' Introduzione: Ehi, Fiorello

Act I: Recitativo: Gente indiscreta!

Act I No. 2: Cavatina: Largo al factotum della citta

Act I: Recitativo: Ah, ah! che bella vita!

Act I: Recitativo Povera disgraziata!

Act I No. 3: Canzone: Se il mio nome saper voi bramate

Act I: Recitativo: Oh cielo!

Act I No. 4: Duetto: All'idea di quel metallo

Act I: Recitativo: Ev-viva il mio Padrone!

Act I No. 5: Cavatina: Una voce poco fa

Act I: Recitativo: Si, si, la vincero

Act I: Recitativo: Oh buon di, signorina!

Act I: Recitativo: Ah, disgraziato Figaro!

Act I: Recitativo: Ah! Barbiere d'inferno

Act I No. 6: Aria: La calunnia e un venticello

Act I: Recitativo: Ah! che ne dite?

Act I: Recitativo: Ma bravi! ma benone!

Act I No. 7: Duetto: Dunque io son ...

Act I: Recitativo: Ora mi sento meglio

Act I No. 8: Aria: A un dottor della mia sorte

Act I: Recitativo: Brontola quanto vuoi

Act I: Recitativo: Finora in questa camera

Act I No. 9: Finale I: Ehi, di casa! ... buona gente!

Act I: Seguito del Finale I: Che cosa accadde

Act I: Seguito del Finale I: Fredda ed immobile

Act I: Stretta del Finale I: Ma, signor ...

Act II: Recitativo: Ma vedi mio destino!

Act II No. 10: Duetto: Pace e gioia sia con voi

Act II: Recitativo: Insomma, mio signore

Act II: Recitativo: Venite, signorina

Act II No. 11: Aria: Contro un cor che accende amore

Act II: Recitativo: Bella voce! Bravissima!

Act II No. 12: Arietta: Quando mi sei vicina

Act II: Recitativo: Bravo, signor barbiere

Act II No. 13: Quintetto: Don Basilio!

Act II: Seguito del Quintetto: Buona sera, mio signore

Act II: Seguito del Quintetto: Stringi, bravissimo

Act II: Recitativo: Ah! disgraziato me! ...

Act II No. 14: Aria: Il vecchiotto cerca moglie

Act II: Recitativo: Dunque voi Don Alonso

Act II: Recitativo: Per forza o per amore

Act II No. 15: Temporale

Act II: Recitativo: Alfine, eccoci qua

Act II No. 16: Terzetto: Ah! qual colpo inaspettato!

Act II: Recitativo: Ah disgraziati noi!

Act II No. 17: Recitativo strumentato: Il conte! ah che mai sento! ...

Act II: Aria: Cessa di più resistere

Act II: Recitativo: Insomma, io no tutti i torti! ...

Act II No. 18: Finaletto Il: Di si felice innesto serbiam memoria eterna?

Gramophone Classical Music Guide


“Not everyone will approve, but there are ways in which this super-budget set of Il barbiere diSiviglia puts to shame just about every other version of the opera there has been. Those it may not please are specialist vocal collectors for whom Il barbiere is primarily a repository of vocal test pieces. If, however, you regard Il barbiere (Rossini, ex-Beaumarchais) as a gloriously subversive music drama – vibrant, scurrilous, vital – then this recording is guaranteed to give a great deal of pleasure.
'Performance' is the key word here. Humburg is described in the Naxos booklet as 'Conductor and Recitative Director', and for once the recitatives really are part of the larger drama. The result is a meticulously produced, often very funny, brilliantly integrated performance that you'll almost certainly find yourself listening to as a stage play. With a virtually all-Italian cast, the results are a revelation. The erotic allure of the duet 'Dunque io son' is striking. Similarly, Don Basilio's Calumny aria, superbly sung by Franco de Grandis, a black-browed bass from Turin who was singing for Karajan, Muti and Abbado while still in his twenties. This takes on added character and colour from the massive sense of panic created by de Grandis and the admirable Dr Bartolo of Angelo Romero when Basilio comes in with news of Almaviva's arrival in town.
The Overture is done with evident relish, the playing of the Failoni Chamber Orchestra is nothing if not articulate. Aided by a clear, forward recording, a sine qua non with musical comedy, the cast communicates the Rossini/ Sterbini text with tremendous relish. They're never hustled by Humburg, nor are they spared: the stretta of the Act 1 finale is a model of hypertension and clarity. This Il barbiere jumps to the top of the pile.”

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