Also listed as soprano by Gossett & Brauner 2001, p. 776; Charles Osborne 1994, p. 52; and Kobbé 1997, p. 667. In modern performance the role of Berta is also sung by mezzo-sopranos, and it is listed as mezzo-soprano by Richard Osborne 1992, p. 311. See also, Il barbiere di Siviglia on the MetOpera Databaseبایگانیشده در ۳ مارس ۲۰۱۶ توسط Wayback Machine (performance archives of the Metropolitan Opera House (Lincoln Center))
The voice types given here refer to the original cast as listed in a 2010 program book from Fondazione Teatro La Fenice di Venezia (see Il barbiere di Siviglia, p. 37 [pdf p. 51]), except for Figaro. Although the program book lists Figaro as a bass, all other sources cited here have baritone.
Originally written for contralto according to a 2010 program book from La Fenice, as well as Richard Osborne 1992, p. 311. Contemporary printed scores tend to list Rosina as a mezzo-soprano role, and the role is listed as mezzo-soprano by Charles Osborne 1994, p. 52; Gosset & Brauner 2001, p. 776; and Kobbé 1997, p. 667. Actual casting practice of opera houses varies widely. Some mezzo-sopranos can sing it as originally written without alteration, but a popular transposed version is often used when a soprano is cast in the role. Singers of all three voice types have found considerable success with the role (Foil & Berger 2006).
Also listed as soprano by Gossett & Brauner 2001, p. 776; Charles Osborne 1994, p. 52; and Kobbé 1997, p. 667. In modern performance the role of Berta is also sung by mezzo-sopranos, and it is listed as mezzo-soprano by Richard Osborne 1992, p. 311. See also, Il barbiere di Siviglia on the MetOpera Databaseبایگانیشده در ۳ مارس ۲۰۱۶ توسط Wayback Machine (performance archives of the Metropolitan Opera House (Lincoln Center))
«نسخه آرشیو شده». بایگانیشده از اصلی در ۱۵ ژانویه ۲۰۱۴. دریافتشده در ۱۳ ژانویه ۲۰۱۴.
