Il Barbiere di Sevilla in Firenze
By Fabio Bardelli on 8/02/15 • Categorized as Opera
Il Barbiere di Sevilla in Firenze
di Gioachino Rossini at Opera di Firenze, Italy, 2015 july 23rd
Review by Fabio Bardelli,
Photos: Opera di Firenze/Maggio Musicale Fiorentino. Curtain call photo Stefano Benucci
FIRENZE/ITALY: A “summer edition” of Rossini’s Barbiere di Siviglia is staged in these days in Florence in front of few tourists and even fewer Florentines, who in summer are on their well-deserved vacations.
Musically it is a “routine” performance without particular strengths, but has as its point of interest the staging of young but established Italian director Damiano Michieletto.
Overactive imagination, tasty inventions never against the music, colorful costumes, the visual orgy of this surreal production strike positively the audience
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. Only some excesses (make-up of the singers is excessive and insisted, and the acting is always really overacting but without falling into farce or guffaw) not diminish the overall value of a quite enjoyable staging that has its founding roots in the music, respected to the maximum by director Michieletto.
To set this opera in a surreal train journey Florence-Seville and back is a quite delicious idea, and at the end of the evening the return to reality, the reappropriation of normality by taking off everyone’s shoes, a Rossini petit trein de plaisir that comes back after an authentic (if I can use a Mozartian metaphor) folle giornata.
Costumes of orgiastic visionariety, scenes created with very few elements (almost only chairs, and almost “acting” chairs) and masterful lights are quite appreciable. Everything is light, airy and fun in this production in which act also talented mimes, in perfect harmony with the spirit of Rossini’s music.
Conductor Alessadro D’Agostini, alternate and sometimes refined, has a hard time in keeping up in this setting, not at ease in Rossini’s dense and wriggling writing. His lacks in coordination with the stage were frequent, although a part due to “hyperactivity” that the director demands to the characters. The approach of everyone, director and singers, to Rossini’s music is not too much philological, but we enjoy in front of such a performance, although a little too much wild and over the top.
The vocal side of this performance was as a whole less interesting, although the good voice and class as a singer of Antoinette Dennefeld, who was Rosina, prevailed over other interpreters. The singer is scenically very credible, shows a mezzo voice bright in the higher register and not particularly strong in the lower, not a great problem infact even many sopranos could not refrain from singing the part of Rosina. Mrs Dennefeld alternates more interesting moments, as the lesson scene in which stage director turns deliciously her character in a cellist, and others in which much more colors would be required, and a fierce and brilliant technique.
Young Italian baritone Vittorio Prato is fairly anonymous in the delineation of his character, which has yet to mature, showing a clear voice sometimes in difficulty in the faster moments, moreover he is scenically really fun and wild. Unfortunately he shows a few variety of colors and phrasing, but overall is rather correct.
Francesco Marsiglia was Conte d’Almaviva, following “tenori leggeri”’s way to sing, a not much appreciated thing nowadays, infact in last decades tenors sing Rossini always “in voce” and without “falsetto”, and are not very sighing. His performance was rather positive, but not without flaws as some annoying inertia in the recitatives.
Don Bartolo was Filippo Fontana, an other clear baritone overall quite correct.
In this veritable orgy of clear voices made really an impression the deep vocal instrument of Don Basilio, bass Luca Dall’Amico, who globally was rather well (scenically the director and the costume designer turned him into a big green lizard … ).
Berta was Irene Favro, vocally overall mid-level, also author following the ideas of the director of an unexpected and irresistible striptease. The other singers were on an average level. Orchestra and Chorus of the Maggio Musicale Fiorentino were good, and applause for all by the really scarce audience.
Cast:
Direttore, Alessandro D’Agostini
Regia, Damiano Michieletto
Costumi, Carla Teti
Orchestra e Coro del Maggio Musicale Fiorentino
Rosina, Antoinette Dennefeld
Don Bartolo, Filippo Fontana
Figaro, Vittorio Prato
Conte di Almaviva, Francesco Marsiglia
Don Basilio, Luca Dall’Amico
Berta, Irene Favro
Fiorello, William Corrò
Un ufficiale, Saverio Bambi