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Gioachino ROSSINI (1792-1868) Il barbiere di Siviglia - Melodramma Buffa
in two acts (1816)
Count Almaviva,
an aristocrat in disguise who in enamoured of Rosina -
Nicolai Gedda (ten); Figaro, a barber and general
factotum – Sherrill Milnes (bar); Bartolo, a doctor and
elderly guardian of Rosina and who fancies to marry her – Renato
Capecchi (buffa bar); Rosina, ward of Bartolo enamoured
of Almaviva - Beverly Sills (soprano); Basilio, a singing
teacher – Ruggiero Raimondi (bass); Berta, Dr. Bartolo’s
housekeeper –Fedora Barbieri (mezzo); Fiorello, servant
of Count Almaviva – Joseph Galiano (bar)
Chorus of Bavarian Radio. Munich Radio Orchestra/Miguel Gómez-Martinez;
John Alldis Choir
London Symphony Orchestra/James Levine
rec. All Saints’ Tooting, London, August 1974 and May 1975 EMI CLASSICS
FOR PLEASURE 3932762 [74.57 + 76.15]
Of
Rossini’s thirty-nine operas Il barbiere di Siviglia is
the only one to have remained in the repertoire since its
composition. When Rossini met Beethoven in Vienna the great
man told him: only compose buffa operas like Il Barbiere.
Verdi was also a great admirer of the work as he was of Rossini’s
opera seria and particularly his William Tell. Il
Barbiere was one of the works Rossini squeezed in during
his contract as Musical Director of the Royal Theatres at
Naples and where he was supposed to present two new works
every year. In the first two years of his contract he composed
no fewer than five operas for other cities, including four
for Rome. Rossini travelled to Rome from Naples to present Torvaldo
e Dorliska to open the Carnival Season at the Teatro
Valle on 26 December. Whilst there, on 15 December, he signed
a contract with the rival Teatro de Torre Argentina for a
comic opera to be presented during its Carnival Season, the
score to be delivered by mid-January! After one unsuitable
subject was put aside, and by now in some haste, it was decided
to base the new opera on Beaumarchais’s Le Barbier de
Séville. To avoid any offence to the widely respected
Paisiello, who had already composed an opera based on that
story in 1782, the opera was presented as Almaviva, ossia
L’inutile precauzione (the useless precaution), later
reverting to the title by which we now know it.
Given
its popularity it is no surprise that recordings of Il
Barbiere abound. In the 1970s EMI often sought to fill
their catalogue with international stars of renown, no matter
that they were past their best or asked to sing in a fach
not currently in their repertoire. Beverly Sills debuted
in 1951 and eventually achieved stardom and international
notice in 1966 when singing Cleopatra at New York’s City
opera in 1966. Her bubbly personality and very light flexible
coloratura rapidly became flavour of the month with recording
companies and international opera houses except for New York’s
Met where she did not debut until 1975, a mere four years
before she retired from the stage. Whilst some of her recordings
played to her vocal strengths as a lyric coloratura soprano
others did not. EMI had a penchant for recording sopranos
as Rosina, first with Victoria de los Angeles and then with
Maria Callas. But Rossini’s writing for Rosina is for a mezzo
not for a voice such as Sills or los Angeles had to offer
and major transpositions are required which totally change
the character of the work … and that is before decorations
and cadenzas are even mentioned. Rosina gives her guardian
the run-around and is something of a viper in the hands of
an expressive mezzo in the middle and lower register. All
Sills is in this performance is a display artist of her own
particular vocal skills, then somewhat past their best, not
of Rossini’s creation. This lack of characterisation can
be heard in the cavatina Una voce poco fa when Rosina
sets out her intentions (CD 1 tr. 14). Further bad news comes
with Nicolai Gedda, as Rosina’s suitor. He is no longer capable
of singing this role with the heady mellifluousness and vocal
lightness required and it is a relief he doesn’t get Almaviva’s
second act aria. Sherrill Milnes is in vocal prime and sings
a fine Barber, his Largo al factotum is a rare delight
in this issue (CD 1 tr. 7. Ruggero Raimondi is sonorous if
a little lugubrious in La Callunia (CD 1 tr. 18).
Levine conducts with more vigour than Rossinian verve although
he shapes the overture well (CD 1 tr. 1 and makes much of
the storm music (CD 2 tr. 18).
For
those wanting a bargain-priced Barber can do worse than the
Naxos recording of 1992 which is textually complete. It features
the experienced Rossinian mezzo Sonia Ganassi as Rosina
and the young Ramon Vargas as an ardent suitor in appropriately
light voice (see review). The
most recent recording features the rising mezzo star Elina
Garanca as Rosina and two other rising stars as Almaviva
and Figaro
(see review).