Bart Sher's scintillating production returns, with that giant anvil.
The finale of Act I of Il Barbiere di Siviglia.
Photo by Ken Howard © 2008 The Metropolitan Opera.
Although it bombed on opening night in 1816, Rossini's version of The Barber of Seville is the heavyweight champ among operatic comedies. It has held the stage in one form or another for two centuries, and remains the composer's most famous work. The story opens on a young, slightly clueless Count, in love with Rosina, the ward of a crusty old doctor. In his quest to win the girl, Count Almaviva is aided by the ubiquitous Figaro, a local barber who has a song or a trick to suit every occasion.
This was the Met debut of Broadway director Bartlett Sher (South Pacific) who has gone on to mount new produ.tions of Les contes d'Hoffmann and last season's Le comte Ory. His Barber is fresh and engaging, incorporating roving orange trees, mysterious doors to nowhere and pure Looney Tunes physics to create comic mayhem and marvelous music.
Recording Recommendation:
London Symphony Orchestra cond. Claudio Abbado (DG, 1971)
Figaro: Hermann Prey
Count Almaviva: Luigi Alva
Rosina: Teresa Berganza
Dr. Bartolo: Enzo Dara
The first Barber to be recorded using the critical edition of Rossini's score is 40 years old. It remains the best in the catalogue. Hermann Prey sings with great warmth and humor as Figaro, commenting on the action even as he drives the plot forward. This is Luigi Alva's second outing as Almaviva, and his light, airy tenor and experience with the part make him a comic foil as well as a noble lead.
Teresa Berganza is a strong mezzo Rosina, characterful and pert, taking full advantage of the low notes that Rossini wrote for the role. But the real treasure here is the whizz-bang performance of Enzo Dara, the Italian bass who made a career out of playing Doctor Bartolo. His performance of "Un dottor della mia sorte" does more than astonish the listener at the aria's technical demand: it can leave you rolling on the floor laughing.
