[Met Performance] CID:307450



Il Barbiere di Siviglia
Metropolitan Opera House, Sat, February 15, 1992




Il Barbiere di Siviglia (447)
Gioachino Rossini | Cesare Sterbini
Figaro
Thomas Hampson

Rosina
Frederica von Stade

Count Almaviva
Stanford Olsen

Dr. Bartolo
Louis Quilico

Don Basilio
Samuel Ramey

Berta
Sondra Kelly

Fiorello
Thomas Woodman

Sergeant
Charles Anthony

Ambrogio
Frank Coffey


Conductor
Ralf Weikert







Review 1:

Review of Susan Elliott in The New York Post

Rossini's "The Barber of Seville" came to buoyant life at the Metropolitan Opera Wednesday night, with as strong a cast as one is likely to see or hear. And every one, save Canadian Louis Quilico, was born in the USA - an unusual and heartening occurrence on a major international opera stage.

Ralf Weikert conducted, often at breakneck speed, but it was Thomas Hampson who set the tone. Arguably the ideal "Barber" Figaro of our day, he continuously lit up the stage with his confident, good-natured swagger and winning musicality. This is a voice of liquid gold, delivered with intelligence and enough power to fill the house effortlessly.

Stanford Olsen, though possessing a relatively small sound, responded to Hampson's bravura with a sense of playfulness and involvement. After some initial vocal problems, he became an increasingly appealing Count Almaviva as the evening progressed.

Far more than just another pretty voice, Frederica von Stade positively sparkled as Rosina, bringing a sense of character and depth to the part that one doesn't usually see. As Don Basilio, Samuel Ramey looked appropriately ghastly and sang like a champion, plumbing the depths of his Act 1 aria with solidity.

Louis Quilico has Bartolo down to a science by now, bumbling and grumbling his way about in classic curmudgeon style. Thomas Woodman was a pleasant-sounding Fiorello and Sondra Kelly sang Berta.

The orchestra played with stunning articulation, and George Darden's recitative accompaniments were splendid. John Cox's 10-year-old production, which makes artful use of Robin Wagner's airy turntable set, has held up very well.



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