The Israeli Opera's 'Barber of Seville': Amusing, not exciting
Director Martin Lyngbo placed emphasis on modernity of staging more than on conservatism of Rossini’s ideas and respect for his own humor
By URY EPPSTEINThe Israeli Opera presents a new production of ‘The Barber of Seville’(photo credit: Courtesy)The Israeli OperaRossini: ‘Il Barbiere Di Siviglia’Tel Aviv Opera HouseFebruary 23In Rossini’s opera The Barber of Seville, performed by the Israeli Opera, director Martin Lyngbo placed emphasis on modernity of staging more than on conservatism of Rossini’s ideas and respect for his own humor, including some cuts, such as the serenade in Act 1 that was not precisely a loss. Many side actors milled purposelessly around the stage.The cast was mainly splendid.In the title role, baritone Jonathan Michie’s resounding voice emerged as a veritable comic actor. As Rosina, Aigul Akhmetshina’s expressive mezzo soprano conveyed passionate love, even before she had met her lover. Her too-shrill and assertive high notes did not quite suit the character of this gentle role.In the role of Don Basilo, bass-baritone Guido Loconsolo performed characteristically Rossini-like virtuosic tongue twisters. In the role of Bartolo’s La calumnia, Luciano di Pasquale was one of the performance’s highlights. Tal Bergman’s charming soprano made one regret that she did not have a larger role. Conducted by Alessandro de Marchi, the Rishon Lezion Symphony Orchestra effectively contributed forceful drama and delicate emotions.All in all, it was an amusing, though not quite exciting performance.
