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

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

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

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

By Gioachino Rossini/ Libretto by Cesare Sterbini

Item: 36-A301001
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The Barber of Seville: No. 5: Act I, Aria: La calunnia (bass; D) (Il Barbiere di Siviglia, excerpt): Light Opera, Orchestra Accompaniment, Conductor Score & Parts

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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 in D, the original key. Also available from the publisher in C.

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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270009-X
ISBN13: 979-8-89-270009-2
UPC: 659359816659
SKU: 36-A301001
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) revolutionized comic opera through his gift for melody, rhythmic vitality, and dramatic timing. His prolific output across multiple opera genres established conventions that shaped European musical theater for generations. The Barber of Seville, composed when he was just 24 years old, remains his most performed work and a cornerstone of the operatic repertoire.

Rossini's influence extends beyond opera houses into music education; his works demand clarity of orchestration, precise ensemble coordination, and singers who understand both vocal agility and dramatic character. Conductors value his scores for their transparency and their capacity to teach musicians how to balance lyrical melody with theatrical momentum.

Why we love this

La Calunnia is a showstopper that works equally well in concert settings as it does in staged productions. The piece builds from intimate scheming to outright comedic fury, giving your bass soloist a chance to display both vocal control and character acting within a single aria, all supported by orchestration that's energetic without overwhelming the singer.

What to expect

La Calunnia unfolds as a masterclass in comic malice wrapped in gorgeous melody. The bass voice ranges from conspiratorial whisper to full-voiced indignation, while the orchestra dances around him with wit and forward momentum, creating a scene that is simultaneously hilarious and musically sophisticated.

Who it's for

This conductor score serves opera companies, regional opera workshops, and university opera programs staging The Barber of Seville or programming a concert excerpt. It's also useful for conductors preparing their orchestras for the theatrical coordination and stylistic clarity Rossini demands.

How to get the most out of it

  • Establish a steady harmonic foundation from the continuo section (cello and bass) before the soloist enters; Rossini's humor depends on rhythmic precision, and any wavering underneath will deflate the comic timing.
  • Shape the aria's crescendos gradually rather than suddenly; the joke of La Calunnia builds as the rumor "grows," so each dynamic swell should feel organic and inevitable.
  • Resist the temptation to rush the patter sections; clarity of text matters more than speed, especially for English-language audiences unfamiliar with the Italian libretto.
  • Balance the woodwind colors carefully during the accompaniment figures so they support rather than compete with the bass line.

How to use it

Pair this aria with other operatic comedy excerpts for an opera gala, or frame it within a "humor in classical music" concert that includes spoken context about the plot. It also serves as an excellent rehearsal excerpt when teaching orchestras about period style and the interplay between vocal and orchestral storytelling.

Skills your students will build

  • Conducting comic opera with rhythmic precision and theatrical clarity
  • Balancing bass soloist projection against full orchestral accompaniment
  • Shaping extended crescendos that build comic effect rather than relying on sudden dynamic shifts
  • Coordinating rapid harmonic changes and rhythmic figures across multiple instrumental sections

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