That Phillips should have sung Figaro, a baritone rôle in "Le Nozze di Figaro," and Almaviva, a tenor part, in "Il Barbiere," may seem odd. But in the Mozart opera he appeared in Bishop's adaptation, in which the Figaro rôle is neither too high for a baritone, nor too low for a tenor. In fact the liberties Bishop took with Mozart's score are so great (and so outrageous) that Phillips need have hesitated at nothing.
On Tuesday, November 22, 1825, Manuel Garcia, the elder, issued the preliminary announcement of his season of Italian opera at the Park Theatre, New York. The printers appear to have had a struggle with the Italian titles of operas and names of Italian composers. For The Evening Post announces that "The Opera of 'H. Barbiora di Seviglia,' by Rosina, is now in rehearsal and will be given as soon as possible." That "soon as possible" was the evening of November 29th, and is regarded as the date of the first performance in this country of opera in Italian.
SEMIRAMIDE
Opera in two acts by Rossini, words by Gaetana Rossi, founded on Voltaire's tragedy, "Sémiramis." Produced, February 3, 1823, Fenice Theatre, Venice; London, King's Theatre, July 15, 1824; Paris, July 9, 1860, as Sémiramis; New York, April 25, 1826; 1855 (with Grisi and Vestivalli); 1890 (with Patti and Scalchi).
Characters
| Semiramide, Queen of Babylon | Soprano | |||
| Arsaces, Commander of the Assyrian Army | Contralto | |||
| Ghost of Ninus | Bass | |||
| Oroe, Chief of the Magi | Bass | |||
| Assur, a Prince | Baritone | |||
| Azema, a Princess | Soprano | |||
| Idrenus | } | of the royal house household | { | Tenor |
| Mitranus | } | { | Baritone | |
Magi, Guards, Satraps, Slaves.
Time—Antiquity.
Place—Babylon.