As William Makepeace Thackeray once simply stated, “it is best to love wisely, no doubt; but to love foolishly is better than not to be able to love at all.” The Italian opera, Il Barbiere di Siviglia, produced by Bartlett Sher, not only exhibits a unique portrayal of love but also moved me to tears and laughter, especially with the performers powerful yet harmonious voices. Their expression through song is able to capture the essence and beauty of the opera and left me yearning for more.
Rodion Pogossov, the singer who plays brave Figaro, gives an exceptional performance and brilliantly paints the arrogant, yet clever nature of his character. Meanwhile, Isabel Leonard tactfully displays Rosina as a two-sided individual, by creating an astounding vibrato; which left me in awe. The mezzo-soprano transforms from a timid, obedient young girl into a fierce, rebellious woman in a single aria, “Una voce poco fa,” by fluctuating her tone, pitch, and emotion. Such technique is rather difficult and very impressive, particularly in an Italian opera. The other performers, including Javier Camarena as Count Almaviva, Maurizio Muraro as Dr. Bartolo, and Paata Burchuladze as Don Basilio further enhance the opera with their talented voices and arias.
Meanwhile, as the performers sang, the orchestra and chorus, conducted by Maurizio Benini, connected with me on a deeper level, drawing much attention to the concepts of fate, power and love. In addition, the lighting was spot on- always shining on the right performers are the right time; and even from the back of the orchestra, the performers could be easily heard.
A reoccurring theme that transitions throughout the opera is one of ever-lasting love and a sense of ultimate unity. True love is the core determinant between Count Almaviva and Rosina, with the help of fate and Figaro. Throughout the opera, the Count finds himself disguised as several different people in his attempt to trick Dr. Bartolo and woo over Rosina. However, the cleverness behind all of these schemes always end up originating from the famous Barber of Seville himself, Figaro.
Although the opera moves at a steady and unwavering pace, the production caught me off guard several times by reigniting sparks of interest. One particular example happens when an enormous anvil drops slowly from the ceiling onto a cart of pumpkins, or when an explosive instrument is set off, causing me to jump and anticipate more surprises as I experienced the comedic side of the opera.
Another unique feature of the opera is the set design. Instead of placing much attention to small details and nuances, Michael Yeargan, the set designer, keeps it fairly simplistic drawing focus towards the performers. Interestingly enough, these few doors are very significant to the opera itself and serve as a metaphorical and literal element; the Count tries to open the door to Rosina’s heart, while Rosina literally is locked up behind the doors of Dr. Bartolo’s house.
Approximately three hours and five minutes, this extraordinary and moving opera is being shown at the Metropolitan Opera House. Tickets for February opera showings are already almost sold out! Get them now, on The Metropolitan Opera website, while they last. You cannot miss this wonderful performance, as it will leave your heart fluttering and your mind taking in the truths about fate, power, and everlasting love.
