Isabellissima!

Why rush to see yet another Barber after having seen it well over a dozen times? The best reason is to witness gorgeous talented Isabel Leonard make the most out of the role of Rosina. Having followed her career with delight after hearing a student recital at Juilliard, I am delighted to report that she is fulfilling her promise in spades (and diamonds for her sparkle and hearts because you will love her too). She has a sumptuous mezzo and flawless technique both in the legato and in the coloratura passages with precision of articulation not often heard. It was a pleasure to see her in a dress, and Catherine Zuber’s costumes were most becoming, as was the wig, something we cannot take for granted.

I wish I could say the same for Mexican tenor Javier Camarena, making his debut at the Met in the role of Count Almaviva. We loves us some Mexican tenors but this performance did not make the grade. In his Act I serenade “Ecco Ridente” coloratura passages seemed rather muddy and high notes felt strained, although he improved in Act II and in the ensemble work. He just doesn’t command the stage as, for example, Juan Diego Flores does. Towering over him by virtue of talent and height was Swedish baritone Peter Mattei who had enough stage presence for both of them. His generous baritone and ease on stage are always a pleasure to watch and his chemistry with Ms. Leonard far exceeded that of Mr. Camarena.

Bass-baritone Maurizio Muraro sang the role of the foolish possessive Dr. Bartolo with great style and humor. Georgian bass Paata Burchuladze sang the role of slimy music teacher Don Basilio and Lindemann graduate Jennifer Check did just fine in Berta’s Act II aria, as did another Lindemann graduate John Moore who portrayed Fiorello in Act I. Rob Besserer garnered lots of laughs as Dr. Bartolo’s elderly servant.
Maurizio Benini conducted with vigor and lyricism this opera which is nearly 200 years old, composed when Rossini was only 24 years old. Melodies just poured out of the young Gioachino, melodies that perfectly match the charming libretto by Cesare Sterbini based on the play by Beaumarchais. No wonder that “Il Barbiere di Siviglia” has survived for nearly two centuries and remains in the repertory of so many companies. Audiences love it and this production met with thunderous applause at the time of curtain call. One wishes that Rossini had written more than the 30 gems he left us with.

I personally am not fond of the Bartlett Sher production or Michael Yeargan’s sets. The stage is rather bare but cluttered with doors and one second story balcony achieved by staircase. There is entirely too much distracting business in the direction and a burro led onstage for no apparent reason. I don’t see much point in Figaro being “loved up” by hordes of women, some of whom are put to work pulling his beauty salon on wheels. I would have preferred to have seen the burro do the pulling and the women do the singing. However, I must be in the minority because all the pratfalls brought forth peals of laughter from the audience and it certainly is a pleasure to see an opera audience having fun!

© meche kroop for The Opera Insider