Barber of Seville, The: No. 4: Act I, Cavatina: Una voce poco fa (soprano; E) (Il Barbiere di Siviglia, excerpt) Cover Image

Barber of Seville, The: No. 4: Act I, Cavatina: Una voce poco fa (soprano; E) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score

$12.00 USD

Barber of Seville, The: No. 4: Act I, Cavatina: Una voce poco fa (soprano; E) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score

Name: Barber of Seville, The: No. 4: Act I, Cavatina: Una voce poco fa (soprano; E) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score
Brand: Alfred Music
SKU: 36-A300901
Price: 12.00 USD
Availability: InStock

By Gioachino Rossini/ Libretto by Cesare Sterbini

Item: 36-A300901

$12.00

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THE BARBER OF SEVILLE (IL BARBIERE DI SIVIGLIA) was written by Giocchino Rossini (1792-1868) in 1816. The two-act comic opera is considered one of the greatest opera buffas ever written, and it remains a popular masterpiece staged frequently today, despite its disastrous February 20, 1816, premiere at the Teatro Argentina in Rome. The libretto by Cesare Sterbini is based on a three-part series of French comedic plays under the same name by Pierre Beaumarchais, and other composers also borrowed from the source, including Mozart for his Marriage of Figaro, although that opera was based on the second comedy in the series. Rossini's The Barber of Seville uses the first comedy as its source, showing the exploits that Count Almaviva engages in to convince Rosina to love and marry him before her ward Bartolo marries her first, with the barber Figaro conniving to help Almaviva the entire time. In the Act I cavatina Una voce poco fa (The voice I just heard), Rosina declares that the student Lindoro will belong to her, and she has one hundred tricks up her sleeve to bring it to fruition. Sopranos often perform this aria in the key of F to showcase their vocal dexterity. A905402 includes parts only; the score is available in this Kalmus edition. Instrumentation: 1.1.2.2: 2.2.0.0: Str (4.4.3.3.3 in set): Solo S.

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Series: Kalmus Opera Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-89-563066-1

ISBN13: 979-8-89-563066-2

UPC: 659859269856

SKU: 36-A300901

Instrumentation: 1.1.2.2: 2.2.0.0: Str (4.4.3.3.3 in set): Solo S

More about this title

About the Composer: Gioachino Rossini

Gioachino Rossini (1792-1868) composed The Barber of Seville in 1816 at just twenty-four years old, creating what would become the most frequently performed opera buffa in the world. His genius lay in crafting melodies of infectious simplicity paired with orchestration that never feels thin, and in understanding exactly how to build comedy through music rather than just accompany it.

Rossini's influence on vocal pedagogy remains profound. His operatic writing demands both technical brilliance and musical intelligence from singers; passages like Una voce poco fa require agility, control, and the ability to deliver a character's full personality through music. Music teachers across generations have used his arias as touchstones for developing soprano technique and dramatic awareness.

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Why we love this

Una voce poco fa is the moment Rosina seizes her own narrative, and Rossini knew exactly how to compose for that energy. The aria's architecture builds from intimate declaration to virtuosic display, giving your soprano a chance to show both lyrical singing and genuine coloratura technique without feeling like empty display. It's a scene-stealer that audiences genuinely love, and it rewards preparation.

What to expect

Rosina's declaration begins like an intimate secret, barely contained excitement rippling beneath her words. As the aria unfolds, her confidence grows into brilliant, cascading runs that seem to multiply her resolve. It's playful scheming set to music, with the soprano at the absolute center of the stage.

Who it's for

This excerpt serves soprano soloists preparing auditions, vocal competition repertoire, or concert performances of opera scenes. It's equally valuable for music theater programs looking for a concert-opera selection that engages audiences and showcases advanced vocal technique.

How to get the most out of it

The orchestra support in this Kalmus score is essential to pacing. Your conductor needs to breathe with the soprano's phrases rather than drive mechanically; the accompaniment follows her storytelling, not the reverse.
The vocal figurations demand clarity over speed. Sopranos often rush the scalar passages out of nerves. Encourage your soloist to think of each note as a distinct word in her argument to Bartolo.
Balance the woodwinds carefully in the opening sections. They establish harmonic color, but the soprano's voice must always cut through without forcing.

How to use it

Program this in an all-Rossini evening, a women's voices concert, or a classical opera gala where audiences expect traditional repertoire done well. It also works as a featured solo within a concert that balances opera scenes with art song, providing the dramatic weight and vocal pyrotechnics that mark a concert's turning point.