[Met Tour] CID:144460



Il Barbiere di Siviglia
Boston Opera House, Boston, Massachusetts, Sat, March 29, 1947 Matinee





Il Barbiere di Siviglia (211)
Gioachino Rossini | Cesare Sterbini
Figaro
John Brownlee

Rosina
Patrice Munsel

Count Almaviva
Ferruccio Tagliavini

Dr. Bartolo
Salvatore Baccaloni

Don Basilio
Giacomo Vaghi

Berta
Thelma Altman

Fiorello
John Baker

Sergeant
Anthony Marlowe

Ambrogio
Ludwig Burgstaller


Conductor
Cesare Sodero







Review 1:

Review of Cyrus Durgin in the Boston Sunday Globe

The comic inanities and sparkling music of Rossini's "Barber of Seville" proved a constant delight in the hands of the Metropolitan Opera Association's singing farceurs yesterday afternoon. A brilliant cast and the steadfast talents of conductor Cesare Sodero combined to make this a first rate operatic show. Though "Barber" is produced as a grand opera, it actually is a lyric showpiece for singers, a musical comedy on a grand scale. For each of the five principals there is a handful of flashy solos, as well as a number of effective ensemble pieces. Even the minor characters have their day. Hence, "Barber" is beloved of singers as a showcase for their brightest talents, and of audiences because it is so easy to take.

"Barber" is more than 100 years old, and it is likely that it has been played for most of that time in the same tradition of broad, low comedy, with the same sneezes and wheezes, with very little variation in the manner of its operatic horseplay. This leads one to the speculation that "Barber" is a good candidate for restaging and translation into English. It might emerge sillier than it stands now, but it certainly would be refreshing. None of these remarks should be taken to cast reflection upon yesterday's performance: Between the superb vocalism of Mr. Tagliavini, the clowning of Mr. Baccaloni, Miss Munsel's brightness, Mr. Vaghi's high comedy and the competent. work of John Brownlee, "Barber" got as good a production as we can see anywhere today.

Mr. Tagliavini, the new tenor star of the Met's Italian wing, is a joy to hear. Not only does his singing mark the beginning of a new era of Italian tenors, but his acting is remarkable for its style and detail. Miss Munsel is an attractive addition to the lyric stage. And she agily scales the difficulties of the coloratura arias, albeit with a certain dryness. Mr. Brownlee was a trifle arch and studied as Figaro, but he sang spiritedly. Mr. Baccaloni's buffoonery, of course, was as broad and easy as his singing. Giacomo Vaghi's Don Basilio was new here, and very good fun it is. He makes skillful use of a big, full bass-baritone voice.



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