Le Barbier de Séville
Théâtre du Châtelet
22nd, 24th, 26th, 28th January 8pm and 30th at 3pm.
10-141 euros
In Italian with French subtitles
***
Co-produced by the Teatro Real (Madrid) and the Teatro Nacinal Sao Carlos (Lisbon), Emilio Sagi's highly anticipated 2005 production of Rossini's The Barber of Seville arrives at the Théâtre du Châtelet for just five sell-out performances this January. Conducted by Jean-Christophe Spinosi, this conservative production is rather narrow in its references and features a somewhat lacklustre cast, yet manages to carve out a pleasing dramatic and musical unity, however simplistic this may be.
The almost cartoonish simplicity of Llorenç Corbella's design serves the plot of this comic masterpiece well and produces an aesthetically exciting production, culminating in a spectacular, fluorescent finale to complete the shift from the black and white austerity of the opening scene to the triumphant realisation of Rosina and Almaviva's love at the opera's close. This ensemble celebration of the classic comedic triumph of youth over age is composed of the very best aspects of this production, successfully combining bold modernist design and technology and classic Spanish Sevillana, as choreographed by Nuria Castejon. Sagi, as artistic director of the Teatro Real, once again amply displays his skill for Spanish-inspired productions, following his admiral interpretation of Carmen in 2010 and a highly acclaimed production of Zarzuela recently staged at Milan's La Scala with Placido Domingo.
However, Sagi could certainly be accused of substituting style for substance, both musically and theatrically. Many of dramatist Pierre de Beaumarchais' thematic interests, such as opera buffa's all-important exploration of the class tensions of the early 19th-century, are played down to vanishing point. No hint is offered of the marital tensions to be revealed in Mozart's sequel, The Marriage of Figaro, and any darker shades of subtlety are wholly subsumed by the extravagant multicoloured festivities.
A cast of varying quality works well together to maintain a fast-pace of action and a fine balance of comedy and pathos. In the title role, Bruno Taddia capitalises on a strong stage presence to craft endearing moments of gentle humour, but his energetic physicality fails to compensate for a disappointingly weak vocal performance. Rising Rossini tenor Bogdan Mihai presents a delicate, handsome Count Almaviva in fine contrast to Tiziano Bracci's blustering, aggressive Bartolo; and if Anna Stephany's acting is of a rather bland variety, the varied interpretation and vocal agilityof the soprano make her a strong female lead.
A light-hearted production that avoids the clichéd and the camp but misses much of the seriousness of Rossini's great comedy in the process.
***
Co-produced by the Teatro Real (Madrid) and the Teatro Nacinal Sao Carlos (Lisbon), Emilio Sagi's highly anticipated 2005 production of Rossini's The Barber of Seville arrives at the Théâtre du Châtelet for just five sell-out performances this January. Conducted by Jean-Christophe Spinosi, this conservative production is rather narrow in its references and features a somewhat lacklustre cast, yet manages to carve out a pleasing dramatic and musical unity, however simplistic this may be.
The almost cartoonish simplicity of Llorenç Corbella's design serves the plot of this comic masterpiece well and produces an aesthetically exciting production, culminating in a spectacular, fluorescent finale to complete the shift from the black and white austerity of the opening scene to the triumphant realisation of Rosina and Almaviva's love at the opera's close. This ensemble celebration of the classic comedic triumph of youth over age is composed of the very best aspects of this production, successfully combining bold modernist design and technology and classic Spanish Sevillana, as choreographed by Nuria Castejon. Sagi, as artistic director of the Teatro Real, once again amply displays his skill for Spanish-inspired productions, following his admiral interpretation of Carmen in 2010 and a highly acclaimed production of Zarzuela recently staged at Milan's La Scala with Placido Domingo.
However, Sagi could certainly be accused of substituting style for substance, both musically and theatrically. Many of dramatist Pierre de Beaumarchais' thematic interests, such as opera buffa's all-important exploration of the class tensions of the early 19th-century, are played down to vanishing point. No hint is offered of the marital tensions to be revealed in Mozart's sequel, The Marriage of Figaro, and any darker shades of subtlety are wholly subsumed by the extravagant multicoloured festivities.
A cast of varying quality works well together to maintain a fast-pace of action and a fine balance of comedy and pathos. In the title role, Bruno Taddia capitalises on a strong stage presence to craft endearing moments of gentle humour, but his energetic physicality fails to compensate for a disappointingly weak vocal performance. Rising Rossini tenor Bogdan Mihai presents a delicate, handsome Count Almaviva in fine contrast to Tiziano Bracci's blustering, aggressive Bartolo; and if Anna Stephany's acting is of a rather bland variety, the varied interpretation and vocal agilityof the soprano make her a strong female lead.
A light-hearted production that avoids the clichéd and the camp but misses much of the seriousness of Rossini's great comedy in the process.
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