Rossini's Il barbiere di Siviglia
The Barber of Seville
February 10, 2019 | 2:00 p.m.
Palace Theatre, Manchester, NH
Opera NH is pleased to bring Teatro Lirico D’Europa’s production of Rossini’s Barber of Seville to the Palace Theatre!
People who have never been to an opera or think they know nothing about it, know at least one aria: the "Largo al factotum" from Rossini's II BARBIERE DI SIVIGLIA— The Barber of Seville. It's the ultimate tongue-twisting patter song (where would Gilbert & Sullivan be without it?) and it comes early in the opera: its the opera's centerpiece: "Figaro here! Figaro there! Figaro up! Figaro down!" Rossini's opera, with a libretto by Cesare Sterbini, was a musicalization of the first of three plays featuring the barber Figaro and his master, the Count Almaviva, by the 18th-century French playwright Pierre Augustin Caron de Beaumarchais. Everyone wants a piece of this clever barber, and it's the nature of farcical hysteria that the hero has to be in more than one place at a time. The Barber of Seville may not have the deep humanity of Mozart's Marriage of Figaro, or Mozart's profound musicality, but it's a dazzling and hilarious concoction—one of the most delightful comic musicals the opera-going public ever took to its collective heart. By: Lloyd Schwartz, Classical Music Editor of the Boston Phoenix and classical music critic for NPR.
TEATRO LIRICO’S CLASSICAL BARBER A CUT ABOVE! “The touring company began its annual, much anticipated visit to town (Boston) Thursday night at the Cutler Majestic Theatre with a solid engaging performance of Rossini’s comedy THE BARBER OF SEVILLE. Baritone Vladimir Samsonov’s Figaro was generous of personality and winningly sturdy of voice. Bernardini relaxed into a fine performance as Almaviva. His voice gained in beauty and suppleness. Zhelezova’s finely modulated, silky smooth sound caressed the ear, and her portrayal of the feisty young woman (Rosina) was spot on. And Sarafov was the kind of Bartolo who really sings instead of bluffing his way through the part. As ever with Giorgio Lalov, the company’s artistic director, this was truly a production of Rossini’s opera, not a director’s idea of what that opera should be.”
BOSTON HERALD – T.J. Medrek