Review: IL BARBIÈRE DI SIVIGLIA, Glyndebourne Festival

Opera buffa is an ever-popular genre of the art, and more than two centuries after its composition, Rossini's Il barbière di Siviglia remains one this genre's most often staged operas. The music and lyrics are pure genius, but the success of this particular opera comes from an inherent understanding of the comedy within. Annabel Arden's production makes a triumphant return to Glyndebourne because it does just that.

This is a production of pure joy, unrivalled Bel Canto singing and perfect comic timing. I have seen this opera in many different guises, but this must be one of, if not the, very best. Conductor Rory Macdonald sets the scene with the London Philharmonic Orchestra in fantastic form. Macdonald drives the music with impeccable timing and huge energy, driving the narrative forward, but taking enough time for the comedy to really fly.

Every person on stage seems to be having a ball. Mexican baritone Germán Olvera is a cheeky, charming and incredibly charismatic Figaro, with boundless energy and wit to spare. His rendition of “Largo al factotum” fills every inch of the auditorium, with richness balanced with incisive tone.

American lyric tenor Jonah Hoskins exudes boyishness and impish likability as the Count, almost surprising us with the clarity of his tonal range and powerful execution of the top notes. He is well matched by Italian mezzo-soprano Cecilia Molinari, who gives both depth and coquettish qualities to Rosina, with a divine coloratura to her voice. The pair have a lovely, spirited chemistry.

Fabio Capitanucci takes Bartolo's tongue-twisters in his stride and brings a knowing smile as well as a befuddled confusion to the role. Italian bass Alessio Cacciamani ramps up the comedy as the normally more staid Don Basilio. Irish soprano Ailish Tynan is small but mighty as Bartolo’s servant Berta; her aria "Il vecchiotto cerca moglie" is powerful and very funny.

Arden's direction contains so many deft, physical touches that enhance the playfulness of the production. Figaro pops up out of the orchestra pit, from below the stage and then on top of a wardrobe; the police troupe dramatically overact and Bartolo's robes are filled with dry ice from below, making him look as though he is actually on fire. There are some very amusing interactions with Maestro in the pit and the whole production is both witty and suitably chaotic in tone.

Joanna Parker’s set gives us a distorted proscenium, glowing in fiery orange, with a backdrop of weathered blue and white Moorish-style tiles. The props are sparse, with a slightly surreal use of various harpsichords descending from the ceiling at one point. Rosina's balcony looks decidedly on the wobbly side, but Parker's decorative costume designs burst with rich texture and colour.

As warm as the Spanish sun; this a giddy, blissful and jubliant production. Opera buffa at its very best. Bravo!

Il barbière di Siviglia is at the Glyndebourne Festival until 3 July