Austin Opera culminates its 2015-16 Season with one of Gioachino Rossini’s perennial favorite, The Barber of Seville, foundational support provided by the Georgia B. Lucas Foundation.
Rossini’s beloved comic opera returns to the repertoire with a cast that is sure-to-please. Ginger Costa-Jackson as Rosina, Troy Cook as Figaro, and Patrick Carfizzi as Dr. Bartolo will charm and dazzle you with their Rossinian vocal fireworks. And we’re thrilled to welcome back Jamie Offenbach as Don Basilio, following his wonderful performance as Mephistopheles in Faust. Rossini’s musical wit glints through every scene of this delightful comedy, one of the most playful and popular ever written!
Stage director Alain Gauthier has found success with his recent production of Dead Man Walking at l’Opera de Montréal where he won the Opus Award for the “Event of the Year”. Gauthier will bring his artistic and directorial strengths to the Long Center stage to emphasize the opera’s beautiful music and hilarious comic timing.
The Barber of Seville features the Austin Opera Chorus and the Austin Opera Orchestra.
An Opera in two acts, sung in Italian with English translations projected above the stage.
Learn more about the artists, production team, and the synopsis.
Watch as Debut Artist Troy Cook performs a “Largo al factotum” from Rossini’s The Barber of Seville (starting at 5:05). Austin Opera is proud to bring the talents of Mr. Cook whose rich vocal inflections will surely enhance this beloved opera classic.
Count Almaviva – Juan José de León*
Figaro – Troy Cook*
Dr. Bartolo – Patrick Carfizzi*
Rosina – Ginger Costa-Jackson*
Don Basilio – Jamie Offenbach
Berta – Lisa Alexander
* Austin Opera debut
Composer: Gioachino Rossini | Libretto: Cesare Sterbini| Conductor: Richard Buckley | Stage Director: Alain Gauthier | Chorus Master: Julian Reed | Scenic Designer: Peter Dean Beck | Costume Designer: Susan Memmott Allred | Lighting Designer: Kathryn Eader
More about our Principal Artists:
Troy Cook, baritone singing Figaro – American baritone Troy Cook recently debuted with the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. His first recording was just released by the Opera Rara Label, singing the role of Lusignano in Donizetti’s Caterina Cornaro to rave reviews.
Recent appearances include performances as Paolo in Simon Boccanegra with Kentucky Opera, Riccardo in Boston Lyric Opera’s I puritani, Marcello in La bohème with Pittsburgh Opera and North Carolina Opera, and the Marquis de la Force in Poulenc’s Dialogues des Carmélites with Opera Theatre of St. Louis. Mr. Cook also appeared in concert this season with the Jacksonville Symphony Orchestra and Winston Salem Symphony. Future seasons include performances with Opera Philadelphia, San Diego Opera, and Dallas Opera.
Lyric Opera of Kansas City, Les pêcheurs de perles– “But the opera belonged to Cook, whose Zurga seemed like the only human being onstage. His resplendent baritone is always a pleasure, but beyond that you really believed in the complexity of his character. Most of all, his simple act of sacrifice becomes the agent of sanity in this insane but oddly rewarding piece of musical theater, and in his bracing final aria you realized that “Pearl Fishers” is really just a love triangle in which somebody had to give in for sake of friendship.” – Paul Horsley, The Kansas City Star
Central City Opera, Show Boat – “Cook is a commanding presence as the flawed romantic lead, gambler Gaylord Ravenal, capable of switching quickly from high comedy to heartrending pathos and again to suave romance. Gorgeously presenting several signature songs, including “Make Believe,” Cook is always the center when onstage.” – Kelly Dean Hansen, The Daily Camera
Ginger Costa-Jackson, mezzo-soprano singing Rosina – Sicillian-born mezzo-soprano Ginger Costa-Jackson recently “created a woman whose joie de vivre could destroy any man in her path.” Recent highlights of the past two seasons include Metropolitan Opera performances as Smaragdi in Francesca da Rimini and Mercedes in Carmen. This past summer Ginger represented The Metropolitan Opera in Russia during a cultural exchange concert series with venues that included Volgograd Opera, Bolshoi Opera, and Catherine’s Palace in St Petersburg. Ginger was also a featured artist in the beloved NYC parks Metropolitan Opera’s Summer Recital Series. Future engagements include a Vancouver Opera debut in the title role of Carmen, a reprise of El Gato con botas with Gotham Chamber Opera, Grand Rapids Opera debut as Carmen, Metropolitan Opera roles of Mercedes in Carmen and Lola in Cavelleria Rusticana (HD production).
In past seasons Ginger has performed internationally with accolades in various roles. Her mainstage debut at the Metropoliton was as Rosette at the tender age of 21 in Massenet’s Manon. Her European debut was as Lola in Cavalleria Rusticana with the Gran Teatre del Liceu in Barcelona. Ginger can be seen on DVD in Metropolitan Opera HD productions including: Rosette, Manon in Opening Night Gala starring Rene Fleming; Myrtale, Thaïs; Nancy T’sang, First Secretary, Nixon in China; Rosette, Manon; Smaragdi, Francesca da Rimini.
Washington Chorus, Carmen – “The Carmen was Ginger Costa-Jackson, a ravishing mezzo-soprano from Italy…who easily conveyed the allure and willful recklessness of Bizet’s Gypsy temptress. Her voice has dark, rich colorings and considerable body.” – Anthony Tomasini, The New York Times
Glimmerglass Festival, King for a Day – “The star of the show is Ginger Costa-Jackson’s Marchesa. In one moment she is a rich heiress, in the next a fragile lover, in all a salty, fierce and hilarious character with an extraordinarily rich and vibrant mezzo.” – Joseph E. Morgan, The Boston Musical Intelligencer
Juan José de León, tenor singing Count Almaviva- Juan José de León is capturing the attention of audiences and critics alike. Hailed for his “big voice,” and “versatility,” (Pittsburgh Tribune-Review) the young tenor is rapidly-bursting onto the operatic scene. In the 2012-13 season Mr. de León completed his residency with the Pittsburgh Opera where he appeared as Matteo Borsa in Rigoletto, Paolino in Il Matrimonio Segreto, and Don Ramiro in La Cenerentola.
Mr. de León also joined The Wolf Trap Opera in the summer of 2013 where he performed the roles of Count Libenskof in Il Viaggio a Reims and Dr. Caius in Falstaff. Concert work this season includes the I Sing Beijing American Debut at Alice Tully Hall in Lincoln Center accompanied by The New York City Orchestra as well as the tenor soloist in Rossini’s Stabat Mater with the Erie Philharmonic.
He opened the 2013-14 season making his Metropolitan Opera company debut with the American premiere of Nico Muhly’s new work, Two Boys (American Congressman).
Opera Theater of Pittsburgh, The Magic Flute – “Juan José de León sang a wonderful Tamino. The tenor has already shown a big voice and versatility as one of Pittsburgh Opera’s resident artists. His Mozart was stylishly heroic as well as tender of heart” –Mark Kanny, Pittsburgh Tribune-Review
Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house, beneath her balcony window. Figaro the barber, who knows all the town’s secrets and scandals, arrives. He explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.
Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet its owner, whom the count leads her to believe is a poor student named Lindoro. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Angry at her defiance, Bartolo warns her not to trifle with him.
Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house. The civil guard bursts in to arrest Almaviva but when he secretly reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.
Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He announces he will give Rosina her music lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her music lesson. She sings an aria, and, with Bartolo dozing off, Almaviva and Rosina express their love.
Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony. Suddenly Basilio shows up looking perfectly healthy. Almaviva, Rosina, and Figaro convince him with a quick bribe that he is sick with scarlet fever and must go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to elope that night. But the doctor overhears them and furiously realizes he has been tricked again. Everyone disperses.
Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, as proof that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, she agrees to marry Bartolo. A thunderstorm rages. Figaro and the count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with soldiers, but it is too late. Almaviva explains to Bartolo that it is useless to protest and Bartolo accepts that he has been beaten. Figaro, Rosina, and the count celebrate their good fortune.
For Season Ticket renewals, please contact Patron Services Manager, Dianne Van Hulle, at 512.610.7684.