Rossini: Il barbiere di Siviglia (Zurich, 2001)
 

Cast: Manuel Lanza (Figaro), Vesselina Kasarova (Rosina), Reinaldo Macias (Count), Carlos Chausson (Bartolo), Nicolai Ghiaurov (Basilio), Elizabeth Rae Magnuson (Berta); Zürich Opera Orchestra and Chorus, Nello Santi (conductor), Grischa Asagaroff (director)

Recorded at the Zurich Opera House in April 2001

Issued on DVD in 2001 by TDK Mediactive (DV-OPBDS, PAL/Region 0 with menus in English and subtitles in English, French, German, Spanish, and Italian).

Technical Details:
Picture Format: 16:9 (nominal); ~14:9 in practice
Sound: DD 5.1, DTS 5.1, PCM Stereo; [reviewed in PCM]

Running time: 161 minutes

Sung in Italian
 
A young cast and bright production promise a lively performance, which in fact is not delivered. It may be glib to assign the weakness to lack of ensemble, but that does seem to be the underlying problem. Stage direction by Grischa Asagaroff serves each soloist well - but not the totality of the performance. Even the dramatically inert Macias might be worked around - but he is not. Lanza's hyperactivity is a poor fit as the comic devices he provides seem more embarassing than amusing to his co-conspirator. Kasarova seems to be in another opera altogether, one not merely serious but solemn. Chausson and Ghiaurov are unaffected by the bustling around them; they are clearly old pros who know how to make the opera work and to the extent possible, they do. On the podium, Santi is similarly solid, but wit must come from the stage not merely from the pit. In this case, there is little from either.
 
Of the principal singers, Kasarova is the one who would generate most interest if only because she is the best known. She approaches the role as a mature fussbudget; there is no trace of insouciance in this reading and she often seems consciously cruel rather than mischievous. She does have confidence in her voice and sings without excessive and unnecessary attention to the process. The quality of her sound does not appeal to me, but others find it alluring. Macias's instrument is dry but moderately flexible. He sings and acts as though at a competition: stiff and precise, ensuring that each vocal requirement is met, ticking them off, in effect, bar by bar. Lanza might be an effective and pleasing Figaro - contributing to an ensemble of sympathetic colleagues - in another production. Here he appears frivolous and out of place. Chausson is a delight with easy production, clear diction and a firm understanding of his character. Ghiaurov belies his age with firm tone and characterization born of much experience. It is fortunate that Berta's aria is retained; Magnuson delivers it honorably despite odd stage direction. If Chausson and Magnuson are secret assets in Zürich, there should be a movement to share them with the rest of the opera world now that the word is out.
 
Santi leads a fine orchestra and chorus rather more substantial than Rossini needs with this cast. There is a sense of conducting by the numbers and a balance reminiscent of classic Verdi performances. In a word, Rossini's debt to Mozart is missing. With the right sort of cast, that, too, can work, but this is not Stracciari, Borgioli and Capsir or Gobbi, Callas and di Stefano.
 
The production seems to be set in the 1920s. There is a mysterious continuing theme of an open lady's fan, differently represented in the two rooms we see, but still recognizable in the art deco styling and blatant in the garish pattern of the walls. Various objects and devices seem designed to distract the viewer's attention; they have no obvious source in the score or justification in the performance.
 
Unless one mistakes slapstick for wit, this recording will be a distinct disappointment.
 
Related website:
TDK Mediactive www.tdk-mediactive.com
 
Michael Richter, 27 October 2002
mrichter@cpl.net
 
See also Michael Richter's Introduction to the DVD, for a list of other reviews see the DVD Project page.