Review: The Barber of Seville at Birmingham Hippodrome
Rossini could hardly have imagined this frothy light romantic comedy of strategems and ruses would still have audiences laughing and applauding 200 years on, but such is the case.
The Barber of Seville
Birmingham Hippodrome
Review by Simon Penfold
Rossini could hardly have imagined this frothy light romantic comedy of strategems and ruses would still have audiences laughing and applauding 200 years on, but such is the case.
Even the current production – Welsh National Opera director Giles Havergal's travelling opera-in-a-piazza staging – has been going a quarter century.
It's still clever, if a little self-aware, as a mock audience interact with the singers, wandering around the stage at will.
But this is just a side show from the main thrust of the night, which is a crackling, fun production where, with its English translation, the audience can actually get the jokes.
That clearly makes it a challenge for the singers as they try to maintain clarity at Rossini's breakneck speed in some of the arias and duets but Jacques Imbrailo, as a cocky, Jack-the-Lad Figaro, is up to the challenge, particularly in his stand-out Largo Al Factotum.
William Robert Allenby was a wonderfully crotchety Dr Bartolo. He was standing in for Eric Roberts, who was indisposed, but was also the main victim of a sometimes losing battle between the cast and the orchestra, which sometimes drowned out the singing.
But nothing could detract from Christine Rice's beautiful mezzo voice as Rosina, or Clive Bayley as the devious, scene-stealing Basilio, with his rich bass.
Combined with Rossini's timeless music, the end result is a hugely enjoyable night at the opera.
