I love opera, and I love Rossini's Barber of Seville. I have heard several deem it as Rossini's masterpiece, and I have to say I agree, though William Tell comes extremely close. This production is not the best Barbiere. My favourites are the 1973 Ponnelle film, the 1959 performance, the 1989 production and the 2005 Madrid production, though the Quillico and Bartoli 1988 production is worth a look too.
That's not to say at all that this Met production is not good, in fact it is a lot of fun like Il Barbiere Di Siviglia should be. The sets and costumes are traditional and very pleasant on the eyes, which you would expect from the Met. The comedy is done in a very entertaining fashion, without it feeling contrived or annoying. The picture quality, camera work and sound are excellent.
Musically Il Barbiere Di Siviglia is hard to fault. The whole opera is a choc-a-block of lively and memorable tunes, and the orchestra and conducting do full justice. When it comes to staging, Florez's tour-De-force, Largo Al Factotum and Una Voca Poca Fa are the most effective. The end of act 1 is entertaining if slightly cluttered.
In regards to the singing and acting, everybody looks natural and sing wonderfully. As entertaining and youthful as Peter Mattei's Figaro is, as amusing and grotesque as John Del Carlo's Bartolo is and as resonant and menacing as John Relyea's Basilio is, they are no match for Juan Diego Florez as Almaviva and Joyce DiDonato as Rosina. Di Donato is very charming and likable, and shows off her warm voice and excellent technique really well. Florez is just sensational, especially in his act 2 aria tour-De-force where his effortless high notes and nimble runs and ornamentations are on full display.
All in all, a lot of fun. 9/10 Bethany Cox
That's not to say at all that this Met production is not good, in fact it is a lot of fun like Il Barbiere Di Siviglia should be. The sets and costumes are traditional and very pleasant on the eyes, which you would expect from the Met. The comedy is done in a very entertaining fashion, without it feeling contrived or annoying. The picture quality, camera work and sound are excellent.
Musically Il Barbiere Di Siviglia is hard to fault. The whole opera is a choc-a-block of lively and memorable tunes, and the orchestra and conducting do full justice. When it comes to staging, Florez's tour-De-force, Largo Al Factotum and Una Voca Poca Fa are the most effective. The end of act 1 is entertaining if slightly cluttered.
In regards to the singing and acting, everybody looks natural and sing wonderfully. As entertaining and youthful as Peter Mattei's Figaro is, as amusing and grotesque as John Del Carlo's Bartolo is and as resonant and menacing as John Relyea's Basilio is, they are no match for Juan Diego Florez as Almaviva and Joyce DiDonato as Rosina. Di Donato is very charming and likable, and shows off her warm voice and excellent technique really well. Florez is just sensational, especially in his act 2 aria tour-De-force where his effortless high notes and nimble runs and ornamentations are on full display.
All in all, a lot of fun. 9/10 Bethany Cox