Composer: Gioachino Rossini
Works: Il Barbiere di Siviglia
Performers: Reinaldo Macias (Almaviva), Carlos Chausson (Bartolo), Vesselina Kasarova (Rosina), Manuel Lanza (Figaro), Nicolai Ghiaurov (Basilio), Elizabeth Rae Magnuson (Berta)
Recording: Live at the Opera House Zürich, April 2001
Label: EuroArts/TDK 10 5124 9 DV-OPBDS
Rossini’s Il Barbiere di Siviglia remains one of the cornerstones of the bel canto repertoire, a testament to its enduring charm and intricate vocal demands. This particular production, recorded at the Zürich Opera in 2001 under the baton of Nello Santi, offers a fresh perspective on the classic tale of love and cunning. Rossini’s blend of humor and musical sophistication finds an adept realization here, enhanced by a visually arresting staging that balances modernity with the essence of the original work.
The Zürich production captivates not just through its musical interpretation but also via its innovative visual design. The semi-circular gauze curtain, reminiscent of a fan, serves as a thematic motif, effectively linking the various settings within Dr. Bartolo’s household. The rotating stage facilitates a dynamic presentation, allowing multiple scenes to unfold simultaneously, which is particularly effective during the ensemble pieces. This creative staging complements the vocal performances, fostering an environment where the humor and wit of Rossini’s music can shine without veering into the realm of slapstick.
Vesselina Kasarova’s portrayal of Rosina is a standout feature of this production. Her voice exhibits remarkable versatility, with a timbre that can shift from sultry allure to formidable power. Kasarova’s approach to the character defies convention; she is not the coy ingenue but rather a determined woman who knows her desires. This interpretation is vividly illustrated in her delivery of “Una voce poco fa,” where she expertly navigates the aria’s lyrical passages with both finesse and an exhilarating high note that seems almost theatrical in its dramatic impact. While some might find her approach overly assertive, it undeniably brings a refreshing vigor to the role.
Reinaldo Macias as Almaviva offers a lyricism that aligns beautifully with Rossini’s intentions for the character. His two serenades are marked by a blend of warmth and charm, fulfilling the romantic ideal that the role demands. Carlos Chausson as Bartolo and Nicolai Ghiaurov as Basilio deliver commendable performances, with Ghiaurov’s rich bass providing a delightful contrast to the lighter voices. The ensemble work during the large finale of Act 1, however, reveals some challenges; the tempo set by Santi occasionally pushes the singers to their limits, leading to a slight loss of cohesion amidst the exuberance.
The technical aspects of the recording are commendable, with a clarity that captures the nuances of the performances. The orchestral playing is robust yet agile, reflecting Santi’s experienced hand at the helm. The sound engineering allows for a vivid representation of the orchestral textures, ensuring that the interplay between voice and orchestra is both balanced and dynamic.
This Zürich production holds its own against notable historical renditions, such as the celebrated 1974 Abbado version with Teresa Berganza and Cecilia Bartoli’s acclaimed 1988 performance. While those interpretations offer their unique insights, the combination of Kasarova’s commanding presence and the inventive staging creates a compelling case for this DVD as a worthy addition to the catalog of Barbiere performances.
The Zürich Opera’s Il Barbiere di Siviglia emerges as a vibrant and engaging interpretation of Rossini’s masterpiece. The production balances visual flair with musical precision, showcasing a talented cast led by an exceptional Rosina. This rendition not only honors the tradition of the opera but also breathes new life into it, making it an essential viewing for both aficionados and newcomers alike.
