London Coliseum, Thursday 5 October 2017
Thirty years old, and it looks as fresh as the first day it was staged, such is the marvel of Jonathan Miller’s The Barber of Seville. Much of this is due to the approach which keeps the work strictly within its historical framework and allows the singers the do what they do best – sing for us.
The evening is certainly not without its genuinely comic moments, but it is the singers, who really understand the characters, being encouraged to explore Rossini’s masterpiece for themselves that carries the evening. Many of them are familiar to us having been in the previous revival in 2015, most notably Morgan Pearse as Figaro. His sense of confidence and the bravura he brings to the music sweep all before him. Alan Opie, Miller’s original Figaro thirty years ago, returns as Dr Bartolo, and brings an unexpected depth of character as well as a finely nuanced musical performance.
Eleazar Rodriguez returns as Almaviva, more confident now than he seemed two years ago, and the top of the voice in splendid form.
The real newcomer to this production is Sarah Tynan as Rosina, though she is no stranger to ENO. Her sense of humour and the fluid coloratura made for a captivating performance throughout.
In the pit Hilary Griffiths was making his ENO debut, but the sparkle he achieved from the orchestra makes one hope he will return soon.
There must be a limit to how many more times this production will be revived but for the moment it does not seem to be anywhere near the end of its working life.
