It saddens me to see that so many people have written negative reviews of this performance, which I consider to be one of the best opera videos currently available. It's not a traditional production – indeed, we're probably never going to see anything like this again – but isn't that the whole point? This production is unique, maybe even infuriating at times, but it never stops being interesting. I also happened to find it incredibly entertaining…Amazon.com
Captured live at London’s Royal Opera House, this Barbiere, with its unbeatable cast and the directors’ characteristic wit and intelligence, offers a unique dramatic twist: Joyce DiDonato, who had broken her leg on the opening night, went on with the show. As she said: “Being trapped in the wheelchair was a quite literal way of demonstrating Rosina's huge desire to break free.
In Parma, where audiences are considered the most discerning in all Italy, the benchmark for vocal artists is set traditionally high. Operagoers here are intimately familiar with the works of their favourites, from Rossini to Puccini, and know every tricky corner by heart. God forbid any singer who fails to accomplish the task without due seemliness Unsurprisingly, then, this performance attempts no directorial experiments. The main setting for this realistically inspired production both indoors and out is Rosinas house, which is converted as required into its constituent parts.
Claudio Abbado’s youthful Beatlecut marks the age of this film‚ still one of the better screen Barbieres if not absolutely the best. JeanPierre Ponnelle based it on his Scala stagings‚ but filmed it‚ as he always preferred‚ in studio and in lipsync – more successfully than most. As a result‚ it looks and sounds very much fresher on DVD than contemporary videotapes.
The stellar cast of this popular opera includes superb singers as well as excellent actors like Kathleen Battle, Leo Nucci, Rockwell Blake, Ferruccio Furlanetto and Enza Dara
Critical praise for this production: “One of [the Met’s] most ingenious stagings in recent years…made to order for a great Rossini ensemble” (New York Times ) – and for this ensemble: “Battle’s coloratura flowed with astonishing ease and grace, beautifully varied in color” (New York Times). “Alongside Battle’s stunning Rosina, the cast is close to ideal…Blake’s Almaviva is extraordinary…Nucci is a remarkable Figaro…Furlanetto makes a formidable Basilio, Dara an irresistible Bartolo” (Répertoire)
The Naxos label has done a wonderful job of providing opera-lovers with inexpensive recordings of both repertory and rare operas. This recording of Rossini's perennial "Il Barbiere di Siviglia" sets a standard which will be hard to sustain. The orchestra, a group of players from the Hungarian State Opera, are lively and alert to the musical presentation desired by conductor Humburg. The soloists are, with few exceptions, wonderful. Roberto Servile in the title role is as good as modern baritones get in the role–he sings well and is having a marvelous time of it. Franco de Grandis sings splendidly as Don Basilio. Sonia Ganassi, singing Rosina, brings good coloratura technique to Rossini's sometimes fiendish writing, but somehow lacks those indefinable qualities which make a great Rosina…
An opera buffa, a comedy, a masterpiece of intrigues, lies and love! 'Il Barbiere di Siviglia' (The Barber of Seville), an opera in two acts by Gioachino Rossini, from the Teatro Regio di Parma. The production stars Dmitry Korchak as Il Conte d'Almaviva, Ketevan Kemoklidze as Rosina, Luca Salsi as Figaro and Giovanni Furlanetto as Don Basilio. The aging Doctor Bartolo longs to marry Rosina; but with the aid of the energetic and enterprising barber Figaro, the Count succeeds in gaining entry to Bartolo's house disguised first as a soldier then as a music teacher…
This DVD is in fact the "break a leg" version which sees Joyce DiDonato perform her role in a wheelchair - a story which has occupied international headlines last year - and definitely a DVD which will stand out. The DVD will include bonus features like an interview with Joyce on her stage accident and subsequent wheelchair performances… (Opera News)
“Here's a Barbiere light of heart and light of touch, graceful in style, with fresh, youngsounding voices (where appropriate), well schooled so as to make those forbiddingly difficult vocal flights sound like flights of fancy, quick as thought and natural as intuition.
It's a concert performance and carries with it a real sense of enjoyment. The Overture moves with relish as from one good thing to another, and movement is the motto for most of the first act. Fiorello and the chorus are no clod-hoppers and the Count is no show-off. 'Ecco ridente' has the assurance of a young aristocrat who has practised his scales and scorns the use of aspirates.( Gramophone )