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Robert Cummings
Classical Net, April 2013

ROSSINI, G.: Barbiere di Siviglia (Il) (Teatro Regio di Parma, 2011) (NTSC) 101623
ROSSINI, G.: Barbiere di Siviglia (Il) (Teatro Regio di Parma, 2011) (Blu-ray, HD) 108042

Conductor Andrea Battistoni…leads a very spirited and colorful performance of this Rossini classic. The orchestra and chorus respond with total commitment to his baton and really cannot be faulted in any way.

…Battistoni is abetted by an excellent cast, which includes a splendid Rosina in the person of the Georgian-born Ketevan Kemoklidze, whose voice has a robust yet velvety tone that relatively few mezzo-sopranos have. Baritone Luca Salsi…makes a splendid Figaro…and is simply marvelous throughout. Bruno Pratico, as Bartolo is also excellent, with just the right kind of vocal resources and fine comedic sense. Russian tenor Dmitry Korchak…makes a more than an adequate Count Almaviva. The remainder of the cast is also fine.

The camera work is fine throughout and the sound reproduction is vivid and well balanced. All in all, this is a fine effort. © 2013 Classical Net Read complete review



Robert J Farr
MusicWeb International, June 2012

This production uses a basic set of Bartolo’s house as its main feature. The opening has its front façade covered in a sheet as Almaviva and his helpers come to serenade Rosina (CH.3). The sheet drops to reveal a balcony onto which Rosina later appears (CH.10). This façade also opens down the middle for the inside of Bartolo’s house, with singers moving various props as required; it is quite an ingenious use of the space of what seems a relatively small stage. Creative use of purple lighting does from time to time restrict the clarity of the picture (CH.43). The scene where Figaro and Almaviva come to rescue Rosina via the placement of a ladder is over-imaginative (CH.42) as are the rotating music sheets at the end of act one (CH.26-28). That said, such minor over-indulgences allied to the use, as here, of period costumes are preferable to the minimalism, updating and Regietheater currently widely prevalent north of the Alps.

The young conductor moves the music on swiftly—sometimes to excess—with a lack of well-sprung rhythms and élan evident from time to time. A pleasant surprise is Dmitry Korchak as Almaviva. His light tenor voice, which he uses with sensitivity, is a joy. I am pleased to report he really gets the second act aria Cessa di piu resistere (CH.47); it’s less likely to be cut since Florez hit the boards. Here it is sung with good shape, tone and flexibility. © 2012 MusicWeb International Read complete review






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3:25:24 PM, 12 July 2014
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