The Barber of Seville
by Opera San Antonio

May. 06 - May. 07, 2017

This production of Rossini's The Barber of Seville will feature Luis Ledesma(pictured) as Figaro, Sarah Coburn as Rosina, and Andrew Owens as Count Almaviva. An impressive trio with a number of credits, these artists have performed in a number of North American and international venues, including the Houston Grand Opera, Boston Lyric Opera, Seattle Opera, Teatro all Scala Milano, Wexford Festival, L'Opéra de Montreal, and Wiener Staatsoper.

Director E. Loren Meeker has received critical acclaim for her stagings of Carmen at Washington National Opera, Lucia di Lammermoor at New Orleans Opera, and Manon at Dallas Opera. We are thrilled to have her join OPERA San Antonio as our stage director for The Barber of Seville. Additionally, this production was designed by acclaimed set designer John Conklin, who has done extensive work for the Metropolitan Opera, English National Opera, and Bastille Opera in Paris.

Director: E. Loren Meeker  │  Conductor: Vlad Iftinca


Directed by E. Loren Meeker

Conducted by Vlad Iftinca

Scenery originally designed by John Conklin for Glimmerglass Festival

Luis Ledesma – Figaro

Sarah Coburn – Rosina

Andrew Owens – Count Almaviva

Ashraf Sewailam - Basilio

Kim Josephson - Bartolo

Susan Nicely - Berta

*Rob Saldaña - Fiorello

*Andrew Thornton - Ambrogio


The San Antonio Symphony: Sebastian Lang-Lessing, Music Director


*denotes local artist




 Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house. Figaro the barber, who knows all the town’s secrets and scandals, explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.


Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to—as Almaviva has led her to believe, a poor student named Lindoro. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Bartolo warns her not to trifle with him.


Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the noise. The civil guard bursts in to arrest Almaviva, but when he secretly reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.


Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” then tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her lesson. With Bartolo dozing off, Almaviva and Rosina declare their love.


Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony. Suddenly Basilio shows up looking perfectly healthy. Almaviva, Rosina, and Figaro convince him with a quick bribe that he is sick with scarlet fever and must go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to elope that night. But the doctor overhears them and furiously realizes he has been tricked again. Everyone disperses.


Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, which seems to prove that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, Rosina agrees to marry Bartolo. A thunderstorm passes. Figaro and the count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with soldiers, but it is too late. He accepts that he has been beaten, and Figaro, Rosina, and the count celebrate their good fortune.

Synopsis Courtesy the Met Opera - See more at:

The Barber of Seville
by Gioachino Rossini
Opera San Antonio

May 06 - May 07, 2017
Tobin Center for the Performing Arts
100 Auditorium Circle
San Antonio, TX, 78205


Tickets $35 - $199 dependng on location; available on-line through the Tobin Center box office.

May 6 at 7:30 PM and May 7, 2017 at 2:30 PM are your only opportunities to see The Barber of Seville in the H-E-B Performance Hall at the Tobin Center for the Performing Arts! Additionally, we invite you to arrive to the performances early so you can attend the pre-performance lectures, given by Dr. Kevin Salfen, Associate Professor of Music History at the University of the Incarnate Word. The lectures will take place at 6:30 PM and 1:30 PM on May 6 and 7, respectively.

Tobin Center Box Office (210) 223-8624
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