The Barber of Seville: No. 5: Act I, Aria: La calunnia (bass; C) (Il Barbiere di Siviglia, excerpt) Cover Image

The Barber of Seville: No. 5: Act I, Aria: La calunnia (bass; C) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score & Parts

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The Barber of Seville: No. 5: Act I, Aria: La calunnia (bass; C) (Il Barbiere di Siviglia, excerpt) Cover Image
The Barber of Seville: No. 5: Act I, Aria: La calunnia (bass; C) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score & Parts

The Barber of Seville: No. 5: Act I, Aria: La calunnia (bass; C) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score & Parts

By Gioachino Rossini/ Libretto by Cesare Sterbini

Item: 36-A905302
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Description
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 Act I, Dr. Bartolo seeks the advice of his servant and Rosina's music teacher, Don Basilio, for a way to remove Count Almaviva. In the well-known aria La Calunnia, Basilio suggests that they start rumor to slander Almaviva. Instrumentation: 1.1.2.1: 2.2.0.0: Timp.Perc(1): Str (4-4-3-3-3 in set): Solo Bass (aria). This version is transposed in C. No score exists, so it includes the score in the original key of D. Version in D also available from the publisher.

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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
UPC: 659359604997
SKU: 36-A905302
Instrumentation: 1.1.2.1: 2.2.0.0: Timp.Perc(1): Str (4-4-3-3-3 in set): Solo Bass (aria)

More about this title

About the Composer: Gioachino Rossini

Gioachino Rossini (1792, 1868) dominated European opera for nearly two decades through sheer inventiveness and theatrical instinct. His gift for melody, combined with an almost preternatural sense of comic timing, made him the most performed composer of his era. The Barber of Seville, written when he was just 24 years old, became his enduring masterpiece and remains the most frequently staged opera buffa in the repertoire.

Rossini's influence on orchestration and ensemble writing fundamentally shaped how composers approached light opera. His ability to balance clarity with richness in the orchestra, while never overshadowing the voice, set a standard that music educators still reference today. After 1829, he stopped composing for the stage entirely, yet The Barber of Seville alone ensures his place as one of history's most essential musical dramatists.

Why we love this

La Calunnia is one of the most recognizable bass arias in all of opera, and this conductor score with orchestral parts gives you everything needed for a polished performance. The aria's brilliant text-painting (Basilio's rumor grows from a whisper to a roar) requires secure ensemble playing, making it an excellent teaching vehicle for how accompaniment shapes dramatic meaning. Most importantly, this excerpt works beautifully in concert settings where a full opera production isn't feasible.

What to expect

La Calunnia is pure theatrical sorcery in musical form. What begins as a conspiratorial whisper unfolds into an avalanche of orchestral color and vocal bravura, propelled by Rossini's endless melodic invention. The aria demands both comic precision and vocal stamina, rewarding singers who can thread the needle between comedic clarity and genuine musicianship.

Who it's for

Bass soloists preparing for auditions, competitions, or concert performances looking for a showstopping aria with orchestral grandeur. Music directors and conductors who want to feature a bass soloist in a symphonic concert without mounting a full opera production.

How to get the most out of it

  • Balance the bass line carefully against the orchestral texture in the opening measures; the cello and bass parts establish the rumor's genesis, so they must speak clearly without overwhelming the solo voice.
  • Shape the crescendo in layers rather than as one continuous swell. Rossini's orchestration itself builds in waves, and respecting that natural architecture keeps the drama propulsive.
  • Let the comedic intent breathe. This aria thrives on precision and lightness, not gravitas. Conductor and soloist should coordinate on where the humor peaks.
  • Watch the transposition: this edition is in C, but the score in original D is included. Decide before rehearsal which key serves your bass soloist best.

How to use it

Pair this with other operatic excerpts in a concert devoted to great bass roles, or use it as a standalone feature that demonstrates orchestral sophistication at a level that engages both musicians and audiences. It also serves as an excellent repertoire showcase for bass students preparing for advanced study or professional auditions.

Skills your students will build

  • Coordinating rapid text delivery with sustained legit singing
  • Responding to orchestral cues in a complex, multi-layered accompaniment
  • Executing precise comic timing and character intention within classical form
  • Reading and interpreting transposed scores (C major version with D major score included)

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