This Valencian Barber of Seville, with a very original and modern scenery of Paolo Fantin: and rotating building a popular neighborhood, where the eyes of viewers can scan, as in the case of casting James Stewart (Jeff. B. Jeffries), that was dedicated to look, from Rear Window, the activities and developments of all its neighbors in the great Alfred Hitchcock Read Window.
The overflowing grace of The Barber of Seville, He born of the perfect combination of a magnificent libretto by Cesari Sterbini, basado en la comedia The Barber of Seville, or The useless precaution of Pierre Beaumarchais, and the brilliant musical score Rossini, to be surpassing ingenuity and resourcefulness, with each of your numbers, truly amazing progression. From the "Piano pianissimo"To stretta that ends Act I. Y, from the duo "Peace and Joy I"Until the end sextet dazzling, the whole opera is a real growing wealth of melodic, perfectly adjusted to the action posed lighthearted.
In addition to a series of numbers, indeed "milestones", all the repertoire as "Ecco, laughing in heaven"Or aria-cabaletta"Cease to resist any longer ... Ah, more pleased”, loaded very difficult agility, magnificently resolved, we remember- by tenors as Alfredo Kraus, Cesare Valetti, Nicolaï Gedda, Fritz Wunderlich or Argentine Raul Gimenez (great stylist of the belcantismo); Y, nowadays, by Juan Diego Florez, we remember his magnificent Count Almaviva, at the Teatro Real in Madrid, also released on DVD- O, the "Largo to the factotum" of Figaro, and "Slander" Don Basilio. Not to point out that "A voice just now”, where so many singers have failed, in the attempt to give a truly expressive content to the phrase ma my toccano.
The Barber is another irrefutable proof of the orchestral mastery of Rossini. "The overture" or accompaniment "slander”, can testify.
something also, Highly noteworthy is the portrayal of different characters through music: the full character of great nobility Song Count, the various aspects of the personality of Rosina exposed in their "a voice just now" O, the bad idea of Bartolo in "To a doctor”, and the graceful rococo imitation of the language in its Arietta of Act II, reminiscent of his youth. All these aspects contribute to this Rossini opera has been compared without any resort to Mozart masterpieces as The Abduction from the Seraglio and The Marriage of Figaro. Report finally, Act I that is greater than the second, and this is not a defect, since the sum rapidity of the outcome of this opera, serves as a balance to the prolonged presentation constitutes the entire Act I.
In this Rossini opera, we can find clear reminiscences of the famous trilogy of Mozart-Da Ponte: The Marriage of Figaro, Y Don Giovanni and Così fan tutte.
After this long introduction I am thinking didactics- to put the reader on, back to focus on this Barbero has been seen during last March in Valencia.
This production from the Grand Théâtre de Geneve, , as it has already been pointed out- with excellent and modern scenery, consisting of the faithful reconstruction of a popular multi-storey building, where even, we see parked the Ford 'All right! propaganda of the Valencian factory- of Count Almaviva, madly in love with the pert and graceful Rosina, who lives in this protected building, rather subdued, the dodo and jealous Don Bartolo.
This set can rotate completely, to allow see the internals of the different floors, and that viewers can scan and target different actions sung, simultanean that other merely theatrical; Y, all, complemented by a successful lighting design that marks the temporal transitions of action arises. So, a remarkable, remarkable scenery.
Excellent music created by Gioachino Rossini is outstandingly performed by the orchestra of the Valencia Grand, well directed by its owner Omer Meir Wellber, wearing of excessively on the "overture" (true prodigy of colorful and concise music), and if the provision is important throughout the opera, reaches heights of high in the long -very end to the Mozartian style- of Act I. The Omer own Wellber, deals with the key, accompanied recitatives.
And in the vocal level include the most serious voices: the remarkable Figaro Mario Cassi, who exhibits a broad and emphatic voice, showing that dynamism on stage that requires this role, whose personality shows clearly, in his famous aria "largo al factotum”. Grand Basilio of the young under Bulgarian orlin Anastassov, voice of a great package that looks exceedingly in the famous aria "Slander is a breeze”, and in all other interventions within a great vocal and stage performance.
Orlin Anastassov only sang in the functions of day 12, and the day of my attendance 15 of March. Anyway I know the magnificent performance of the great under Georgian Paata Burchuladze, in other representations. Funny and very theatrical Bartolo of Marco Camastra always following the slipstream of Rosina, and solving its expertly Act I aria "To a doctor of my fate”. Special mention of the Valencian mezzo Berta Marina Rodriguez Cusi, brilliant career in the last twenty years.
Rodriguez-way, It gives a lesson theater, because without singing, acting alone, comes to focus fully, with their stage movements the attention of viewers, and already wearing his vocalism attractive during Act II, in her little duet with Bartolo "Ah, wretched me!"Followed by her aria"The antiquated Coming”.
As for Rosina from Valencia de Sagunto Silvia Vázquez, It is pretty well in theatrical background, and a remarkable vocalism shooting, especially in the resolution of the bel canto agility shining in his famous aria "A voice just now”.
Uruguayan tenor Edgardo Rocha (bright pupil other Almaviva: American tenor Rockwell Blake), It has a good vocal technique, associated with a voice inhomogeneous, total absence of serious, and a central register no light but ultra-light tenor; what, only takes up a width body and to move well in acute. These features will remain lucimiento in their important interventions of both acts. El Figaro de Mario Cassi, tells true brilliance in the duo both in their duet of Act I "The idea of that metal”. The large number of magnificent set that closes Act I, with that excellent Coro de la Generalitat Valenciana. Anyway, a very remarkable Barbero, especially for its theatrical approach and the most serious voices.
The Barber of Seville
Palau de les Arts in Valencia
D. musical: Omer Meir Wellber
D. scene: Damiano Micheletto
Mario Cassi, Silvia Vázquez,
Edgardo Rocha, Marco Camastra,
Orlin Anastassov, Marina Rodriguez-Cusi,