The Metropolitan Opera in collaboration with Royal Ballet and Opera close their season in style with Rossini’s effervescent comedy retaking the stage with director Kathleen Smith Belcher’s revival of Bartlett Sher’s madcap production from 2006 of Il Barbiere di Siviglia, a prequel to The Marriage of Figaro.
Count Almaviva (Jack Swanson), disguised as Lindoro, courts Rosina (Aigul Akhmetshina), who is under the guardianship of the jealous Dr. Bartolo (Peter Kálmán). Figaro (Andrey Zhilikhovsky), the town barber, helps Almaviva navigate the obstacles, including Bartolo’s plan – with the assistance of Don Basilio (Alexander Vinogradov) – to marry Rosina himself. Through disguises, deception, and clever schemes, Figaro and Almaviva work to win Rosina’s affection and thwart Bartolo’s plan.
Michael Yeargan’s set design was simple and elegant as its many doors and orange trees conjured up images of Seville’s many plazas whilst it seamlessly transitioned during musical interludes to a townhouse including interior and balcony, whilst Christopher Akerlind’s lighting design satisfactorily took us from day to night, from exterior to interior. Catherine Zuber’s costumes caught the period perfectly but also reflected the personality of each character which complemented the comic opera antics and sight gags.
The paradox of Rossini’s music is that the comedy can soar only with disciplined mastery of vocal technique. The singers must be capable of long vocal lines of attention-holding beauty as well as the rapid runs of coloratura singing. The score features solos of astounding speed in comic, tongue-twisting patter forms, especially the title role’s well-known Act I showstopper, “Largo al factotum.” Beyond the brilliant solos, the singers must blend well with one another in the complex ensembles that occur throughout the opera.
The challenge for tonight’s production – the second revival within the season of this piece – was that it was all about the rising stars, the artists who will likely become the established stars of the Met’s future. As a delightful evening of virtuosic singing and laughter unfolded, it was clear that the Rossini challenge had been accepted and met and that we have a lot to look forward to in the years to come.
General Manager Peter Gelb made it clear last year that he had big plans for Akhmetshina and whilst that season’s poorly directed Carmen did her few favours, this production showcased all she is capable of and more. Rosina is a complex character, yet Akhmetshina captured it all with ease as she switched between feisty, seductive, and vulnerable, as well as bringing physicality to the role as she danced and twirled in her opening aria and duet with Figaro, whilst running around effortlessly during the ensembles. Vocally she balanced the robustness of her mezzo with a lightness to her coloratura with a deeper sultry layer underscoring Rosina’s natural precociousness.
Swanson made his Met debut this season as the lovestruck Almaviva and displayed a beautiful voice with vibrant timbre and good control of each phrase: Rossini uses a lot of notes and during an interval interview, Swanson confided that he’s pleased to hit at least 80% of them – he did tonight and more. I also enjoyed his exaggerated vocal inflections during the ensemble scenes when he’s in disguise.
Zhilikhovsky has the necessary stage presence for the title role and was clearly enjoying every moment he was on stage with the swagger and vitality of a charmer with his impactful ‘Largo al factotum’ a joy and his baritone carrying well throughout.
Kálmán is more old guard but was still surprisingly making his Met debut and served up a comic old man with the worst of intentions with a dominant vocal and precise diction. Whilst Vinogradov played it straight and therefore all the funnier as the conniving buffoon singing impressively through the signature crescendos.
I must also make special mention to two support artists who each starred in their own way. Kathleen O’Mara as Berta performed strongly in the ensemble whilst showcasing her own delightful coloratura in Act II, whilst actor Jay Dunn gave a masterclass in slapstick performance as the house literally crashed around him, eliciting great laughter from the audience.
Maestro Giacomo Sagripanti expertly led the orchestrawith an enthusiastic interpretation of Rossini’s score, with some impressive crescendos and flourishes that embodied the frenetic energy of the score without losing any of its cohesiveness.
Reviewer: Mark Davoren
Reviewed: 31st May 2025
North West End UK Rating: