Forever Figaro (1978)

After welcoming guests (the audience) to his 75th birthday party, Rossini reflects on the events that led him to become a young composer and if it was worth the effort (Fame can be fatiguing). His wife Olimpia enters to see that the guests ore comfortable and that he has token his medicine, the bitter dosage sending him out of the room . Also, in a mood of reflection, she recalls the shallow mess of her life before Rossini, and the happiness since (Then the voice of conscience spoke). Rossini returns and becomes part of her reminiscences, recalling the day he rook her to meet his wife Isabella from whom he hod been legally separated.

In a flashback sequence, Isabella, unhappy with her present status of having been forced to early retirement from the opera stage (Walking the path of memory), awaits their arrival. Rossini attempts to smooth the way but finds Isabella caustic and cynical (So I om to hove the dubious distinction). And the meeting of the two women comes perilously close to a hair-pulling match. Rossini cautions Isabella to be polite or suffer the consequences. With feigned sincerity, she invites Olimpia to return for a dinner in her honor (Til we meet again, my dearest). But the relationship comes to its inevitable end (Duet for two cots). The situation has strained the feelings between Olimpia and Rossini. He, in turn, hastens to reassure her of his love and devotion (When a woman loves a genius). Returning to the present, Olimpia insists that Rossini nap before the evening’s festivities. Impish and feeling 19, he suggests that she join him in the bedroom. She agrees, certain that all the nap will produce isa much needed rest for them both. The guests ore invited to wonder about and relax in the interim.

Rossini admits to his guests that he did fall asleep after all. But no matter, he and Olimpia have found a delightful substitute to keep their marriage alive (Epicurean Tarantella). Olimpia confides that she hopes he stays well. When he becomes seriously ill, she is more like his mother than his wife (Married men behave like children). Overhearing her, he odds that he becomes a veritable two-year old when he is ill (Boby’s song). As Olimpia deports to welcome guests, Rossini reflects on the two opera singers he most ad- mired in the post: Mario Molibron and Isabella. Vividly recalling his first wife’s early triumphs, she steps into his reverie to sing on aria for which she was famous (Dell’ raggio lusinghie), leaving him visibly shaken and sod. Olympia understands, allowing him his private moment of grief. Although she hod no aspirations for the stage herself, she is proud of the fact that he composed several songs for her. She sings Love knows no age.

Fame Can Be Fatiguing Overture to William Tell.

Then the Voice of Conscience Spoke “Una voce poco fa” from The Barber of Seville.

A Touch of Strumpet

Arias from The Count Ory & Cenerentola.

Walking the Path of Memory

From La Donna del Lago and La Scala di Seta.

So I Am to Have the Duoious Distinction Count/Figaro duet from The Barber of Seville.

I’ve Been Dying to Meet You Duet & ensemble from The Count Ory.

‘Til We Meet Again, My Dearest

“Buona sera, mio signore” from The Barber of Seville.

Duet for Two Cats From Sins of Old Age.

When a Woman Loves a Genius Duet from The Italian Girl in Algiers.

Epicurean Tarantella From Sins of Old Age.

Married Men Behave Like Children Berta’s aria from The Barber of Seville.

Da Oy’s Song “Chanson du bébé”.

Dell’ Raggio Lusinghie Aria from Semiramide.

Love Knows No Age “L’amour à Pekin”.

All Is Over

Duets & ensemble from The Italian Girl in Algiers & Cenerentola.

Largo al Factotum

Aria from The Barber of Seville.