Rossini: Il barbiere di Siviglia

Gramophone Classical Music Guide 2010 “Here's a Barbiere light of heart and light of touch, graceful in style, with fresh, youngsounding voices (where appropriate), well schooled so as to make those forbiddingly difficult vocal flights sound like flights of fancy, quick as thought and natural as intuition. It's a concert performance and carries with it a real sense of enjoyment. The Overture moves with relish as from one good thing to another, and movement is the motto for most of the first act. Fiorello and the chorus are no clod-hoppers and the Count is no show-off. 'Ecco ridente' has the assurance of a young aristocrat who has practised his scales and scorns the use of aspirates. Figaro likewise wears his skills and his energy lightly, the brag and bounce of his introductory solo kept within civilised limits. Their duet is a ball-game of high velocity neatly played in time to an inexhaustible supply of rhythm and melody. The Rosina is Elina Garanca who is not very liberal with her smiles. The possibility of fun is admitted with 'farò giocar' but the keynote is determination ('vincerò'). Later the characterisation warms, but right from the start we have been won by the beauty of her tone and the accomplishment of her florid work, never going hard or shrill at the top and keeping the voice whole and even throughout its range. Her guardian, Doctor Bartolo, in this version is a lightweight buffo baritone rather than the usual bumbling fatty, and it's left to the Basilio to play the traditional tricks. At times during this First Act, one may wish for a moment here and there to linger over phrases or merely to savour the sound of a fine voice. In compensation, the conductor offers a clear view in which everything has its place. In Act 2 he makes room for more expansion. In both, the clarity of ensemble is a delight, as is the elegant playing of the Munich orchestra.” Gramophone Magazine October 2006 “…a version light of heart and light of touch, graceful in style, with fresh, young-sounding voices (where appropriate), well schooled so as to make those forbiddingly difficult vocal flights sound like flights of fancy, quick as thought and natural as intuition. ...the clarity of ensemble is a delight, as is the elegant playing the Munich orchestra.”