The Barber of Seville by Giovanni Paisillo and Pierre-Augustin Caron De Beaumarchais English Adaption
Graduation Date
Spring 1983
Document Type
Master's Thesis
Document Form
Degree Name
Master of Arts
Program Name
Humanities
Abstract
Reviving, and restoring a neglected old opera is an exciting and satisfying adventure. To remodel a work considered dated and useless and to see it come to life onstage has been one of the highlights of my musical life.
The idea for this project was born when I undertook a comparative study of the Rossini and Paisiello versions of The Barber of Seville for a research seminar three years ago. Although I was quite familiar with the Rossini setting, I had neither seen nor heard the Paisiello work. Fortunately, there was an Italian recording available and I soon became enchanted by the music of the lesser known opera.
However, one must realize that there is often a discrepancy between hearing and seeing when it comes to a musical stage piece. While Paisiello's music was lovely, there was a certain theatrical essence missing - or perhaps I should say present only in some sections. Long stretches of recitative in the boring buffa style seemed to kill the interest generated by the solos and ensembles. The set pieces themselves were harmonically monotonous and repetitious. And yet the work had charm and originality. It also had a wonderful witty quality that seemed to lift it from the mundane, giving life and worth.
When I read the excellent John Wood translation of the play by Beaumarchais upon which the operas are based, I truly became excited. Why not a musical play using the Paisiello set pieces along with the Beaumarchais dialogue! After all, this had been Beaumarchais' original plan, changed only to meet the demands of his producers. The first version even contained songs written by him. It seemed an ideal solution, and in a way, "poetic justice."
Once I had made up my mind to tackle the project in this way, the rest was simply a matter of several hundred hours worth of work. There was never any ending or struggling with the medium because the concept was valid. Just as one visualizes an elegant antique under several layers of paint and dirt, I knew there was a real show here. This initial reaction was vitally important. Had I tried to revive something with no innate theatrical viability, the whole effort would have been a waste of time and energy and the result disappointingly unsuccessful.
-Thesis excerpt-