{"id":88689,"date":"2017-01-17T00:43:50","date_gmt":"2017-01-16T23:43:50","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=88689"},"modified":"2017-01-17T00:46:05","modified_gmt":"2017-01-16T23:46:05","slug":"new-york-metropolitan-operail-barbiere-di-siviglia","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/new-york-metropolitan-operail-barbiere-di-siviglia\/","title":{"rendered":"New York, Metropolitan Opera:”Il Barbiere di Siviglia”"},"content":{"rendered":"

New York, Metropolitan Opera, Season 2016 \/2017<\/em>
\n“IL BARBIERE DI SIVIGLIA”<\/strong>
\nOpera in two acts.Libretto by Cesare Sterbini, based on the play by Pierre-Auguste Caron de Beaumarchais
\nMusic by Gioachino Rossini<\/strong>
\nCount Almaviva\u00a0<\/em> JAVIER CAMARENA
\nDoctor Bartolo<\/em> \u00a0MAURIZIO MURARO
\nRosina\u00a0<\/em> PRETTY YENDE
\nDon Basilio\u00a0<\/em> MIKHAIL PETRENKO
\nFigaro\u00a0<\/em>PETER MATTEI
\nBerta\u00a0<\/em>KAROLINA PILOU
\nFiorello\u00a0<\/em>TYLER DUNCAN
\nAmbrogio\u00a0<\/em>ROB BESSERER
\nAn Officer\u00a0<\/em>\u00a0MARK SCHOWALTER
\nOrchestra & Chorus Metropolitan Opera
\nConductor\u00a0Maurizio Benini
\n<\/strong>Director\u00a0Bartlett Sher<\/strong> Revival Stage Director\u00a0 Kathleen Smith Belcher
\n<\/strong>Stage\u00a0Michael Yeargan
\n<\/strong>Costume designer\u00a0Catherine Zuber
\n<\/strong>Lighting\u00a0 Christopher Akerlind
\n<\/strong>New York, January 13, 2017
\n<\/em>The Met revived its popular ten-year-old Bartlett Sher<\/strong> production of Il Barbiere di Siviglia<\/em> in the first week of the new year with an imposing cast, most of whom, unfortunately, were suffering from winter colds. It is, perhaps, reassuring to learn, after seasons of doubtful wonder, that Peter Mattei<\/strong> is in fact human, that the easy verve with which he fills the enormous theater with superb sound actually costs him some effort and may not always be relied upon. His Figaro was working hard to bring off the legato and the humorous \u201cfalsetto\u201d effects of \u201cLargo al factotum,\u201d and he did not comfortably hold his own in his duets with Javier Camarena<\/strong>\u2019s charming Almaviva or Pretty Yende<\/strong>\u2019s strong Rosina. There were phrases of wonderful Mattei sound but he spent most of the evening mugging through the comedy with a confidence for once belied by his vocal estate. It must have been one heck of a cold to congest that magnificent chest. But he was not to be defeated.
\nCamarena has announced that these four performances\u2014Dmitry Korchak takes over on the twenty-first for the remainder of the run\u2014will constitute his farewell to the role of Almaviva, which first brought him notice in Europe though he has never performed it before at the Met, where he debuted as Elvino in La Sonnambula<\/em>. There were ornamental runs in \u201cEcco ridente\u201d and \u201cCessa di pi\u00f9 resistere\u201d that were less than ideally smooth, but on the whole it was a graceful performance. Bellini and Donizetti are really more his style, and he will sing Arturo here next month.
\nPretty Yende<\/strong>, a South African lyric coloratura, earned ovations for both the recit and the cabaletta to \u201cUna voce poco fa.\u201d The voice is silvery and agile but also strong, if anything stronger as it goes higher, and she has the bravura style for \u201cContro un cor.\u201d This seems to set her future in the Semiramide <\/em>or Armida <\/em>direction rather than Adinas and Norinas.
\nDoctor Bartolo was Maurizio Muraro<\/strong>, a singer unknown to me. He is a precise farceur of imposing, ridiculous dignity, and he pronounces each word of \u201cUn dottor della mia sorte.\u201d One does not ask much more of a Bartolo, the object of everyone\u2019s conspiracies, and many a perfectly adequate Bartolo gets by with little more. The surprise was Muraro\u2019s sound, large and liquid and darkly colored, beautiful phrases pronouncing ridiculous sentiments. He is a lovely singer of this unbeloved role, and one hopes he will give us something serious one of these days. Mikhail Petrenko<\/strong>, comically tall and thin to Muraro\u2019s rotundity and Camarena\u2019s shortness, sang Don Basilio with low notes worthy of Meyerbeer or Moussorgsky, which adds to the fun. \u00a0Karolina Pilou<\/strong>, who has brought her sizable and plummy low mezzo to a number of small companies around town, made her Met debut as Berta. Though her sound easily filled the house, a cold rather cluttered the phrases of her aria del sorbetto.
\nMaurizio Benini<\/strong> kept the music at the sprightly pace it calls for. Sher\u2019s production requires the scenery to wobble and the singers to shuffle and tap and double-take and mug, and all of them did so with tremendous gusto. An audience full, I gathered, of people unfamiliar with Barbiere<\/em> responded with belly laughs of joyful surprise to the ancient jokes so skillfully pandered, with the sort of precision American audiences are used to on Broadway and on screens both large and small. Photo by Marty Sohl\/Metropolitan Opera<\/em><\/p>\n

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