SEEN AND HEARD INTERNATIONAL

Rossini, Il Barbiere di Siviglia : Soloists,  New York Metropolitan Opera Chorus and Orchestra conducted by Frédéric Chaslin. Metropolitan Opera House, New York, 12.1.2008 (PD)

Cast:
Rosina: Elina Garanca
Count Almaviva: José Manuel Zapata
Figaro: Franco Vassallo
Dr. Bartolo: Bruno Praticò
Don Basilio: Peter Rose

Production:
Bartlett Sher (director)
Michael Yeargan (sets)
Catherine Zuber (costumes)
Christopher Akerlind (lighting)

 

Figaro: Franco Vassallo

 

The much anticipated Met debut of Elīna Garanča was not the only story on opening night, as there were rumors that at least one cast member was too ill to perform.  “We regret to inform you that José Manuel Zapata is not feeling entirely well, but wishes to go on with the show,” said a Met official in a pre-curtain announcement. He asks for you understanding.” He needn’t have. This was the first time for the Spanish tenor on the Met stage  too, and the audience knew that a sore throat would only be made worse by a case of the nerves. Stage fright? As they say in a neighboring borough, “forgetaboutit.”

And speaking of 'burros', wasn’t that an adorable animal used in the opening scenem choreographed by Bartlett Sher? The animal – something of a cliché prop, granted – was escorted out by Italian baritone, Franco Vassallo, who also led a caravan of admirers about as he rejoiced in self praise. A better Figaro is hard to find, as Vassallo has tremendous comic energy and all the right tools to carry the role through to its dynamic conclusion. He made a grand entrance, driving his “barber’s” wagon through the village streets of Seville, fairly shouting “La ran la le ra…Largo al factotum.”

Rosina: Elina Garanca

Last season, Met subscribers heard German soprano Diana Damrau, sing the role of Rosina in another Sher production, and by all accounts she was very good. But it’s a mezzo voice that Rossini was writing for, and Garanča has a molto instrument. The Latvian diva has all the makings of a superb actress  as well, demonstrating that “Una voce poco fa,” is an aria that can indeed be sung while languishing on a daybed. Her characterization of our heroine is camped up a bit in other ways,  but she is never diminished or ridiculed. This is a woman clearly to be reckoned with, and Garanča plays it straight enough to convince us that she is a femme with fatale proclivities. Those who had seen her portray Dorabella in Così fan tutte in Vienna a few years ago, noted that she brought a similar complexity to that role.

The burro was not the only domestic pet on stage. A small lapdog was also featured as Dr. Bartolo’s faithful companion. I make mention of the animal only because it had the potential of stealing the scene away from Bruno Praticò. But the big forceful Italian bass would have none of it. Here is comic genius personified. His brilliant performance was applauded and cheered from beginning to end. Even his canine companion was impressed, as it responded cheerfully to every animated command and signal it was given.

Kudos too, for French conductor, Frédéric Chaslin, who guided the cast, chorus and orchestra with aplomb. He is not a flamboyant showman, but does wield the baton with muscular confidence. And in the end it may have been the heroic performance of Zapata that is most memorable. Struggling with a bad cold, he fought his way through the demanding recitative and belted out a sensitive (if not particularly forceful) “Ecco ridente” that brought the house down.

Paul Duclos

Pictures © Marty Sohl / Metropolotan Opera


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