A 2014 BBC Arts Documentary hosted by Darcey Bussell.

Prima ballerina Darcey Bussell talks about her life at the top. From tears at ballet school and forgetting the steps, to becoming the Royal Ballet's youngest-ever principal and her favourite roles, Darcey recalls her performing career from its earliest days.

A 2015 PBS Arts Documentary as part of PBS American Masters series.

Ric Burns’ documentary on the 75-year history of the preeminent ballet company combines rehearsal footage, virtuoso performances and interviews with ABT's key figures including Alicia Alonso and the late Donald Saddler and Frederic Franklin; Susan Jaffe and Julie Kent, Misty Copeland, Gillian Murphy, Marcelo Gomez, Hee Seo, choreographer Alexei Ratmansky and Artistic Director Kevin McKenzie.

With thanks to MVGroup:

A 2006 Arts Documentary narrated by Tony Palmer.

The Salzburg Festival has hosted every great star of the opera and concert hall, from Toscanini to Anne-Sophie Mutter, from Fischer-Dieskau to Barenboim, from Pollini to Mitsuko Uchida. In this film, the first to tell the story of this remarkable Festival, set in the birthplace of Mozart, director Tony Palmer has been granted unprecedented access to Austria's film archives.

Highlights include performances of Jedermann from 1920 to the present day, featuring actors such as Maximilian Schell and Klaus Maria Brandauer; Don Giovanni (with Furtwängler in 1954 and a controversial performance directed by Peter Sellars in the 90s); a wealth of footage of Herbert von Karajan, including performances and never-seen-before home movies; and film of the Nazi hierarchy at the Festival during the Second World War. Alongside this historical footage, the film interviews contemporary stars such as Placido Domingo, Valery Gergiev, Lang Lang, James Levine, Anna Netrebko, Riccardo Muti and Simon Rattle, who tell their stories and open their hearts about this unique Festival.

With thanks to MVGroup:

The 2016 Proms season draws to a close with a bang not a whimper, with Verdi's thunderous Requiem. Marin Alsop is at the helm of the penultimate prom, conducting the Orchestra of the Age of Enlightenment and the BBC Proms Youth Choir. Tom Service introduces for television and talks to Marin Alsop backstage. The soloists lining up for Verdi's largest scale non-operatic work are soprano Tamara Wilson, mezzo-soprano Alisa Kolosova, Dimitri Pittas and bass Morris Robinson.

The Requiem had its British premiere in 1875 at the Royal Albert Hall with the composer himself conducting and it is still packing the audiences in. Its fire and brimstone depiction of death and destruction never fails to appeal, most famously of all in the tumultuous Dies Irae.

Katie Derham introduces the 2017 open-air concert from the magnificent gardens of the Schonbrunn Palace in Vienna, given by the Vienna Philharmonic Orchestra conducted by Christoph Eschenbach.

Fairy tale and myth influence all of the evening's music, with highlights from classical favourites such as Tchaikovsky's The Sleeping Beauty, Stravinsky's Firebird Suite, John Williams's Hedwig's Theme from the Harry Potter films and the Prologue to Humperdink's opera Hansel and Gretel.

They are joined by American soprano Renee Fleming performing some of her favourite songs and arias, including Russalka's Song to the Moon.

With thanks to MVGroup:

Prélude from ¨Cello Suite No.1 in G major¨
Music by Johann Sebastian Bach

Soloist: Alessandra Ferri
Guitar: Sting
Choreography by Heinz Spoerli
Directed by Fabrizio Ferri
Presented at the Venice International Film Festival in 1998.

Based on the operetta Die Fledermaus (German: The Flittermouse or The Bat, sometimes called The Revenge of the Bat) composed by Johann Strauss Jr.

Choreography by Roland Petit
Teatro alla Scala 2003

Music by Georges Bizet
Choreography by Roland Petit

Directed by Fabrizio Ferri
Presented at the Venice International Film Festival in 1998.

A 2015 BBC Arts Documentary hosted by Amanda Vickery and Tom Service.

La traviata is one of the world's most popular operas. Its arias are instantly recognisable and have become staples for opera houses across the globe. Yet at its London premiere in 1856, La traviata was denounced for bringing 'the poetry of the brothel' to the stage and unleashing uncomfortable truths on Victorian society. Amanda Vickery and Tom Service reveal the extraordinary story behind the opera's first night in London and its scandalous heroine, the courtesan Violetta Valéry, whose dramatic life and tragic death were based on real-life characters and events.

Tom and Amanda's journey goes from the luxury of the Parisian demi-monde to the teeming streets of Victorian London, where prostitution was seen as a threat to society itself. Amanda explores the story of Marie Duplessis, a highly-prized courtesan whose life inspired the play on which the opera was based, whilst Tom discovers how Verdi, on a visit to Paris with his mistress soprano Giuseppina Strepponi, seized this risqué story for the subject of his new masterpiece.

Together, Amanda and Tom follow the opera's journey to London and examine how its incendiary premiere marked a historic moment in which art confronted reality, redefining the role of the opera diva forever. Scenes from Verdi's masterpiece have been specially recreated for the film alongside location photography in Venice, Milan, Paris and London.

Personal note: They could've picked a better soprano playing Violetta. However, the documentary is good.

Composer: Giacomo Antonio Puccini
Librettist: Giuseppe Giacosa, and Luigi Illica
Premiere: 14 January 1900, Rome (Teatro Costanzi)
Language: Italian

Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy.

According to the libretto, the action of Tosca occurs in Rome in June 1800. Sardou, in his play, dates it more precisely; La Tosca takes place in the afternoon, evening, and early morning of 17 and 18 June 1800. This production is performed in the actual Roman settings and times of the day as described in the libretto. It was originally broadcast live in three parts - each part corresponding to each act, each act performed and broadcast from the actual building in which that act takes place in the plot, and at the exact time of day the action in the particular act occurs. None of it was filmed on sets especially built for the production. To accomplish this unheard-of feat, the singers were outfitted with tiny, nearly invisible radio transmitters plugged in their ears, which enabled them to hear the orchestra playing the accompaniments in the studio as the singers actually sang live in their respective locations.

Rome, June 1800. Floria Tosca is a celebrated opera singer, better known as La Tosca. Her lover is Mario Cavaradossi, a young artist and Bonapartist sympathizer. When the latter helps Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, to escape from prison and hides him in his villa, he antagonizes Baron Scarpia, the ruthless chief of police, who mistrusts the painter, and believes him complicit in Angelotti's escape. Scarpia also desires Tosca and wants to possess her.

Tosca Libretto:
English Translation:

Catherine Malfitano: Floria Tosca
Plácido Domingo: Mario Cavaradossi
Ruggero Raimondi: Il Barone Scarpia

Orchestra Sinfonica e Coro di Roma della RAI
Conductor: Zubin Mehta

Directed by Biran Large, Cinematography by Vittorio Storaro, Art Direction by Aldo Terlizzi, Produced by Andrea Andermann and Rada Rassimov.

A 2010 BBC Arts Documentary series written and presented by Matthew Collings.

Matthew Collings concludes the series by looking at the invention of Renaissance painting.
The Baptism of Christ by Italian master Piero Della Francesca showed the household names of the High Renaissance how to use the big new trick of Renaissance painting - illusionism and perspective.
Without him their achievements would have been impossible, but change came so rapidly in the Renaissance that the qualities that made Piero famous in his own time quickly went out of fashion.

The Baptism was bought for the National Gallery in 1861 and later Cezanne and Picasso saw him as the real deal: the authentic, honest Renaissance, a model for modern painting. Now he is so in tune with secular modern taste that a tourist trail links his work in the beautiful hills of Umbria, Tuscany, and a few galleries around the world who own a precious panel by him. Collings follows his trail and hunts down the forensic detail in the highest-resolution images of paintings yet seen on television.

A 2010 BBC Arts Documentary series written and presented by Matthew Collings.

In the second programme of his series on Renaissance painting, artist and writer Matthew Collings steps into the mysterious invented world of The Garden of Earthly Delights by Hieronymus Bosch, painted c.1505. Using the latest high-resolution digital technology, Matthew is able to explore this extraordinary painting in minute detail and unravel some of the arcane messages that Bosch has woven into it through his use of symbols and unsettling inversions of scale.

The Garden of Earthly Delights reflects the new way of thinking about the world that the Renaissance ushered in - ideas about free will and morality that challenged the old religious order and posed a question: perhaps heaven and hell are not places your soul might end up in, but states of being that are always inside you?

Next Episode: Piero Della Francesca - Baptism of Christ

A 2010 BBC Arts Documentary series written and presented by Matthew Collings.

The series begins with an artistic investigation into one of the most radiant and beautiful images in all of art history, The Madonna of the Meadow, painted in 1505 by Raphael. Matthew deconstructs the image with the help of the very latest high-resolution digital technology, which allows him to explore the inner secrets of Raphael's painterly effects with a clarity and at a level of detail never before seen on television.

As Matthew says, it is a journey 'to the other side of an illusion', revealing how Raphael created the alluring images that were so appealing to his wealthy Renaissance clients - including the Pope - and which entranced artists for centuries after his death.

Next Episode: Hieronymus Bosch - The Garden of Earthly Delights

A 2011 BBC Arts Documentary hosted by Antonio Pappano.

Antonio Pappano takes an in-depth look at one of the most famous and dramatic of all operas - Puccini's Tosca. This documentary goes behind the scenes of the recent production of Tosca by the Royal Opera House conducted by Pappano and starring some of the hottest names on the opera stage today - Angela Gheorghiu, Bryn Terfel and Jonas Kaufmann.

Pappano examines the drama and musical language of Tosca and explores Puccini's creative genius in producing one of the greatest of theatrical experiences.

A 2013 BBC Arts Documentary hosted by Rolando Villazón.

Tenor Rolando Villazón reveals an insider's view on performing music by one of the greatest opera composers, Giuseppe Verdi, who celebrates his bicentenary in 2013. By looking at some of Verdi's most well-known works including the operas Macbeth, Rigoletto, La Traviata, as well as his Requiem, Villazón shares his unique and passionate insight on Verdi's consummate skill - how he constructed dramatic episodes of searing reality, as well as the historical context in which the operas are set.

Along with interviews with some of the world's leading Verdi singers, conductors and theatre directors, Villazón tells us why he thinks Verdi is a genius.

A 2006 TV5 Arts Documentary, written and directed by Bertrand Normand, narrated by Diane Baker.

In the grand tradition of the Ballets Russes comes a portrait of five Russian ballerinas from the Mariinsky Theatre (also known as the Kirov), this film gives insight to the lives of five ballerinas, all at different points in their careers. Looking at the operations of the Vagonova Academy and the Mariinsky Theatre, the life of a ballerina is disclosed.

Behind any great ballerina lies the discipline and rigour that comes from decades of training and practice. Superstars like Nijinsky, Baryshnikov and Pavlova established the reputation of Russian dancers as the best in the world. The five dancers profiled in this revealing film are tough, insightful and exceptionally talented; onstage they reveal no hint of the sweat, pain and hard work of the rehearsal studio.

From Swan Lake to Romeo and Juliet, from the backstage studio to performing on stages around the world, Ballerina captures the sublime beauty of ballet, in all its resplendent glory.

Altynai Asylmuratova: Artistic Director Vaganova Ballet Academy (at the time)
Valery Gergiev: Mariinsky Theater Artistic Director
Makhar Vaziev: Director Mariinsky Theater Ballet Company
Manuel Legris: Paris National Opera Principal Dancer
Pierre Lacotte: Choreographer
Ludmila Safronova: Teacher at Vaganova Ballet Academy
Olga Chenchilova: Ballet Master
Olga Moiseyeva: Ballet Teacher

Andrian Fadeyev: Principal Dancer
Igor Zelensky: Principal Dancer
Diana Vishneva; Ballerina
Svetlana Zakharova: Ballerina
Ulyana Lopatkina: Ballerina
Alina Somova: Ballerina
Evgenia Obraztsova: Ballerina
Alina Somova: Ballerina
Jayme Ratzer: Ballerina

A 2015 BBC Arts Documentary hosted by David Bintley.

This documentary looks at how Louis XIV not only had a personal passion and talent for dance, but supported and promoted key innovations, like the invention of dance notation and the founding of the world's first ballet school, that would lay the foundations for classical ballet to develop.

Presented by David Bintley, choreographer and director of the Birmingham Royal Ballet, the documentary charts how Louis encouraged the early evolution of ballet - from a male-dominated performance exclusive to the royal court to a professional artform for the public featuring the first female star ballerinas. The film also looks at the social context of dance during Louis XIV's reign, where ballets were used as propaganda and to be able to dance was an essential skill that anyone noble had to have. As well as specially shot baroque dance sequences and groundbreaking recreations of 17th-century music, it also follows Bintley as he creates an exciting new one-act ballet inspired by Louis XIV.

Danced by 15 members of the Birmingham Royal Ballet, The King Dances features an original score by composer Stephen Montague, designs by Katrina Lindsay and lighting by Peter Mumford and receives its world premiere on television directly after the documentary.

The programs premiered on October 08, 2019 on Sky Arts.

The event “Sounds of the Dolomites” which is called in Italian “Suoni delle Dolomiti” combines the passion for nature as well as for Music. This is a number of concerts which take place in the open air, a unique atmosphere.

In this episode, the legendary Italian cellist Mario Brunello prepares to play in the middle of the Dolomites in one of the highlights of the high-altitude summer festival in Trentino, Italy. The series premiered on Tue Oct 08, 2019 on Sky Arts, hosted by Francesco Da Mosto.

Performance of ballet recorded live at Teatro alla Scala, January 2000, with Alessandra Ferri and Angel Corella, choreography by Kenneth MacMillan.

Romeo and Juliet Op. 64, is a ballet by Sergei Prokofiev based on William Shakespeare's play Romeo and Juliet.

The Dancers:
Angel Corella: Romeo
Alessandra Ferri: Giulietta (Juliet)
Michele Villanova: Mercutio
Gianni Ghisleni: Tebaldo (Tybalt)
Alessandro Grillo: Benvolio
Bryan Hewison: Paride (Paris)
Maurizio Licitra: Solista Mandolino
Bruna Radice: Lady Capuleti (Lady Capulet)
Matteo Buongiorno: Lord Capuleti (Lord Capulet)
Danilo Tapiletti: Il Duca
Lavia Vallone: Rosalinda
Laura Costa: La nutrice (The Nurse)
Sergio Sanvito: Frate Lorenzo (Friar Lawrence)

Director: Tina Protasoni
Writing: Sergei Radlov & Sergei Prokofiev
Costume Design: Franca Squarciapino
Production Design: Ezio Frigerio
Conductor: David Garforth
Kenneth MacMillan: Choreographer (original)
Georgina Parkinson: Choreographer (reprise)

Composer: Giuseppe Verdi
Librettist: Antonio Ghislanzoni
Premiere: 24 December 1871, Cairo (Khedivial Opera House)
Conducted by Giovanni Bottesini.
Language: Italian

Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette. Isma'il Pasha, Khedive of Egypt, commissioned Verdi to write the opera for performance in January 1871, paying him 150,000 francs, but the premiere was delayed because of the Franco-Prussian War. One scholar has argued that the scenario was written by Temistocle Solera and not by Auguste Mariette. Metastasio's libretto Nitteti (1756) was a major source of the plot. Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, nor that of the Khedivial Opera House (which opened with Verdi's Rigoletto) in the same year. (Verdi had been asked to compose an ode for the opening of the Canal, but declined on the grounds that he did not write "occasional pieces".)

Place: Egypt
Time: The libretto does not specify a precise time period, so it is difficult to place the opera more specifically than the Old Kingdom.

Backstory: The Egyptians have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the King of Egypt. To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings.

Aida Libretto:
English Translation:

Aprile Millo: Aida
Dolora Zajick: Amneris
Plácido Domingo: Radamès
Sherrill Milnes: Amonasro
Paata Burchuladze: Ramfis
Dimitri Kavrakos: The King
Margaret Jane Wray: A Priestress
Mark Baker: A Messenger (as Mark W. Baker)

Directed by Brian Large
Production Design by Gianni Quaranta
Costume Design by Dada Saligeri
Orchestra: Metropolitan Opera Orchestra
Conductor: James Levine
Chorus: Metropolitan Opera Chorus
Chorus Master: David Stivender
Ballet: Metropolitan Opera Ballet
Choreographer: Rodney Griffin

The internationally acclaimed Italian prima ballerina Alesandra Ferri stars in La Scala's gloriously traditional new production of this much-loved classic, the most celebrated ballet of the Romantic era. Massimo Murru takes the role of Albrecht, whose duplicity drives Giselle to madness and causes her to die of a broken heart.

Choreographed by Patrice Bart of the Paris Opera Ballet, this production recreates in Angelo Sala's sets and costumes the designs of the great Alexexandre Benois, famous for his work with Diaghilev and the Ballets Russes.

Giselle (French: Giselle, ou les Wilis) is a romantic ballet in two acts, and is considered a masterwork in the classical ballet performance canon. It was first performed by the Ballet du Théâtre de l'Académie Royale de Musique at the Salle Le Peletier in Paris, France on 28 June 1841, with Italian ballerina Carlotta Grisi as Giselle. The ballet was an unqualified triumph. Giselle became hugely popular and was staged at once across Europe, Russia, and the United States.

Librettists Jules-Henri Vernoy de Saint-Georges and Théophile Gautier took their inspiration for the plot from a prose passage about the Wilis in De l'Allemagne, by Heinrich Heine, and from a poem called "Fantômes" in Les Orientales by Victor Hugo.

The prolific opera and ballet composer Adolphe Adam composed the music. Jean Coralli and Jules Perrot created the original choreography. The role of Giselle was intended for Carlotta Grisi as her debut piece for the Paris public, and she was the only ballerina to dance it at the Paris Opera for many years. The traditional choreography that has been passed down to the present day derives primarily from the revivals staged by Marius Petipa during the late 19th and early 20th centuries for the Imperial Ballet in St. Petersburg. One of the world's most-often performed classical ballets, it is also one of its most challenging to dance.

The ghost-filled ballet tells the tragic, romantic story of a beautiful young peasant girl who falls for the flirtations of the deceitful and disguised nobleman Albrecht. When the ruse is revealed, the fragile Giselle dies of heartbreak, and Albrecht must face the otherworldly consequences of his careless seduction.

The second act is largely dominated by the Wilis, the spirits of maidens who died after being betrayed by their lovers, and take revenge in the night by dancing men to death by exhaustion (a popular theme in Romantic-era ballets). Led by Myrtha, the Queen of the Wilis, they summon Giselle from her grave and target her lover for her death, but Giselle's great love frees him from their grasp.

The Dancers:
Alessandra Ferri as Giselle
Massimo Murru as Albrecht
Isabel Seabra as Myrtha
Maurizio Vanadia as Hilarion

Director: Alexandre Tarta
Writers: Jules-Henri Vernoy de Saint-Georges, Théophile Gautier
Producers: François Duplat

Production Design and Opera Stage Director: Franco Zeffirelli
Performers and characters:
Maria Callas: Soprano / Tosca
Renato Cioni: Cavaradossi
Tito Gobbi: Scarpia
Robert Bowman: Spoletta
Dennis Wicks: Sciarrone
The Orchestra and Chorus: Royal Opera House, Covent Garden.
Conductor: Carlo Felice Cillario

Composer: Giacomo Antonio Puccini
Librettist: Giuseppe Giacosa, and Luigi Illica
Premiere: 14 January 1900, Rome (Teatro Costanzi)
Language: Italian

The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy.

Place: Rome
Time: 17 & 18 June 1800

Synopsis - ACT II: Scarpia's apartment in the Villa Farnese
That night Scarpia eats his supper as he waits for his agents to bring in Angelotti. He sends a note inviting Tosca to visit him after the victory cantata. He is furious when his agent Spoletta confesses that they had found no trace of Angelotti, but mollified when he learns that they have arrested Cavaradossi because of his suspicious behavior. Cavaradossi defies Scarpia and denies knowing anything about Angelotti, so Scarpia orders his interrogation - using any means necessary. He is unsuccessful in his attempt to trick Tosca into revealing Angelotti's whereabouts, but she is unable to resist Cavaradossi's cries of pain as he is tortured, and gives the information. Cavaradossi reproaches her bitterly. When news is brought that Napoleon had after all been victorious at Marengo, he exultantly taunts Scarpia, who orders his immediate execution. At first Scarpia turns a deaf ear to Tosca's pleas for mercy, but then reveals that the price for Cavaradossi's life is Tosca herself. In despair, she sees no way out, despite her revulsion, which only makes her more desirable in Scarpia's eyes. In her presence he gives the orders for a fake execution, expressing himself in such a way that it is clear to Spoletta, but not to Tosca, that the execution is in fact to be real. She demands a safe-conduct for herself and Cavaradossi, so that they can leave Rome for ever. As he writes it, she notices a knife on the table, and as Scarpia prepares to embrace her, she stabs him.

Tosca Libretto:
English Translation:

Opera: Rigoletto
Composer: Giuseppe Verdi
Librettist: Francesco Maria Piave
Premiere: 11 March 1851, Venice (La Fenice)
Language: Italian

Rigoletto Synopsis - ACT II: A room in the duke's palace.
Like Rigoletto, the duke had gone back to the house to find Gilda gone. His concern for her convinces him that this time he is really in love. The courtiers describe their exploit to him and he soon realises it is Gilda they have carried off, and rushes to comfort her with the revelation of his true identity. When Rigoletto comes in search of Gilda, the courtiers feign indifference. Realising that she is with the duke he first abuses the courtiers, then begs them to restore his daughter. As she emerges in a state of disarray from the duke's bedroom, he orders the courtiers to leave. Gilda tells him about the young man at church and about how she had been abducted, though making no reference to what has occurred just now. Rigoletto comforts her and promises they will leave Mantua. Monterone, led by on his way to prison, laments that the duke is still untouched by his curse. Rigoletto swears that Monterone will be avenged by him, as Gilda pleads in vain for mercy.

1. Quartet: Povero Rigoletto
Role(s): Rigoletto / Duke of Mantua / Sparafucile / Marullo
Voice(s): Baritone / Tenor / Bass / Baritone

2. Aria: Cortigiani vil razza dannata
Role(s): Rigoletto
Voice(s): Baritone

3. Recitative: Mio padre Dio mia Gilda!
Role(s): Gilda / Rigoletto
Voice(s): Soprano / Baritone

4. Aria: Tutte le feste al tempio
Role(s): Gilda
Voice(s): Soprano

Rigoletto Libretto:
English Translation:

The Barber of Seville (Italian: Il barbiere di Siviglia) is a 1947 Italian opera film directed by Mario Costa and starring Ferruccio Tagliavini, Tito Gobbi and Nelly Corradi. It is an adaptation of Gioachino Rossini's 1816 opera The Barber of Seville.

The Barber of Seville, or The Futile Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville (1775), which was originally an opéra comique, or a mixture of spoken play with music. The première (under the title Almaviva, or the Futile Precaution) took place on 20 February 1816, at the Teatro Argentina, Rome.

Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all opere buffe; even after two hundred years, its popularity on the modern opera stage attests to that greatness.

Rossini's opera recounts the events of the first of the three plays by French playwright Pierre Beaumarchais that revolve around the clever and enterprising character named Figaro, the barber of the title. Mozart's opera The Marriage of Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy.

Place: Seville, Spain
Time: 18th century

Performers and characters:
Ferruccio Tagliavini: Conte d'Almaviva
Tito Gobbi: Figaro
Nelly Corradi: Rosina
Vito De Taranto: don Bartolo
Italo Tajo: Don Basilio
Natalia Nicolini: Berta
Nino Mazziotti: Fiorello
The Orchestra and Chorus: Teatro dell"Opera di Roma
Conductor: Giuseppe Morelli

Il Barbiere di Siviglia Libretto:
English Translation:


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This is a channel with documentaries about art: Music, Ballet, Figurative Arts.

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