fyglia

In Parma, where audiences are considered the most discerning in all Italy, the benchmark for vocal artists is set traditionally high. Operagoers here are intimately familiar with the works of their favourites, from Rossini to Puccini, and know every tricky corner by heart. God forbid any singer who fails to accomplish the task without due seemliness… Unsurprisingly, then, this performance attempts no directorial experiments. The main setting for this realistically inspired production – both indoors and out – is Rosina’s house, which is converted as required into its constituent parts.



One happily turns a blind eye to a (historically authentically dressed) protagonist occasionally being seconded to move a piece of stage scenery. Stage presence, vocal perfection and above all the audibly and visibly gleeful participation of all performers in the action are a more than adequate payoff for the intellectual flights of fancy of other interpretations. Our rewards are found on the one hand in the precise and sure-footed direction of Stefano Vizioli. All performers know exactly the role they are required to play and how best to carry it off. On the other hand, the singers on stage and instrumentalists in the pit seem to enter a new dimension as soon as the Rossini machine gets up to speed. The spirited orchestra plays under the magical baton of Andrea Battistoni, born in Verona in 1987 and appointed principal guest conductor at Parma’s Teatro Regio in January 2011.

An opera buffa, a comedy, a masterpiece of intrigues, lies and love! 'Il Barbiere di Siviglia' (The Barber of Seville), an opera in two acts by Gioachino Rossini, from the Teatro Regio di Parma. The production stars Dmitry Korchak as Il Conte d'Almaviva, Ketevan Kemoklidze as Rosina, Luca Salsi as Figaro and Giovanni Furlanetto as Don Basilio. The aging Doctor Bartolo longs to marry Rosina; but with the aid of the energetic and enterprising barber Figaro, the Count succeeds in gaining entry to Bartolo's house disguised first as a soldier then as a music teacher. When Bartolo becomes suspicious, he quickly summons the notary to set the seal on his marriage to Rosina. But Figaro and Almaviva are already one step ahead and the marriage contract is signed by the Count, who at last reveals his true identity. Bartolo receives generous compensation, however: the Count waives the dowry that Bartolo ought otherwise to have paid as Rosina's guardian although he is made to share the sum with Figaro. All's well that ends well? We catch up on the couple's subsequent marriage problems in the second part of Beaumarchais Figaro trilogy, La folle journée ou le Mariage de Figaro / One Mad Day or The Marriage of Figaro, which Mozart set to music in 1786 under the title Le nozze di Figaro.

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