Review: THE BARBER OF SEVILLE, Glyndebourne

If you want to bring a little Spanish warmth into your autumn, you could do much worse than head down to Sussex, where Glyndebourne's Autumn Season is now in full swing. In 1775, Beaumarchais created the character of Figaro in his play Le Barbier de Séville and over 250 years later, we are still reaping the rewards in Gioachino Rossini's operatic masterpiece, The Barber of Seville.

Count Almaviva is in love with Rosina, but her guardian Dr Bartolo has plans to marry her himself. Almaviva enlists the help of wily barber Figaro to help him get the girl. Disguises, foiled plans and miscommunication follow, accompanied by Rossini's peerless music in this exceptional opera buffa.

Annabel Arden's production debuted at the venue a decade ago. It took a while to find its feet, but won rapturous praise when it was staged during the Summer Season in 2025. It's easy to see why: Arden's production has a deep understanding and love for the music, but also understands the way that Rossini’s music must combine with Cesare Sterbini’s libretto to gain the most hilarious effects. The result is a truly delicious and suitably bustling comedy. Arden co-founded Complicité, the groundbreaking British theatre company which specialises in mime and physical theatre, hence why we see servants clowning and flying harpsichords in the stretta to the Act 1 finale.

Catalan baritone Lluis Calvet i Pey literally bounces into the auditorium as Figaro, popping up from the orchestra stalls to make his way onto the stage. He kicks off the show with a spectacular “Largo al factotum”, showing breathless energy and incredibly deft diction – I have rarely heard Figaro sung with such clarity. Calvet i Pey looks like he is having a ball throughout the production, adding his own intonations and riffs to the role.

Maltese tenor Nico Darmanin's Count Almaviva plays up to the role's more immature and vain qualities, with much amusing posturing. He opens "Ecco, ridente in cielo" in a high, florid tenor and is quick and agile with the comic needs of the part. 

Chinese mezzo and former Royal Opera Jette Parker Young Artist Hongni Wu is an excellent Rosina, on sparkling form with excellent coloratura. Her "Una voce poco fa" shows real fire, as she asserts her confidence that she will not be messed about, despite appearing sweet and innocent. It's just a shame that Wu often looks like she has more chemistry with Figaro than the Count.

Both Italian baritone Fabio Capitanucci and Irish soprano Ailish Tynan return as uptight guardian Dr Bartolo and feisty housekeeper Berta respectively. Capitanucci clearly knows and loves this character and tackles the tongue-twisters with aplomb; his facial expressions are constantly amusing as he registers confusion, frustration and pure outrage. Tynan embraces her aria “Il vecchiotto cerca moglie” with light-hearted fun and some cracking vocals. Turkish bass Cumhur Görgün as Basilio delivers the scheming Don Basilio’s “La calunnia” with relish and a strong bass voice.

Joanna Parker's set glows with burnt oranges and lively blues, with Moorish design accents and James Farncombe's lighting design brimming with Spanish sunshine. 

Conductor Chloe Rook's handling of the Glyndebourne Sinfonia is as light as air, with the orchestra showing huge energy and wit in its handling of the tricky score. Rook succeeds in finding the technical control required, while allowing the comedy to breathe, particularly in the challenging sections where deft acceleration is needed. Rook makes the synchronising of the orchestra, the stage chorus, and multiple principal soloists look easy.

With Glyndebourne offering tickets from just £15, this an unmissable opportunity to see this comic opera at its most comic.

The Barber of Seville plays at Glyndebourne as part of the Autumn Season until 7 November

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