Rossini is life. Nowhere is this vitality as evident as in his Barber. The 24 year old composer was already a veteran when he composed his paen to mirth and human folly. Bart Sher’s production dates back to 2006, but still works.

The Barber is so good that it can survive almost anything thrown at it by good, bad, or delusional opera companies. I’ve seen it done in English as well as the original Italian. I’ve seen it done at the Met more times than I can remember. I’ve even seen it done in a high school Gymnasium. It always worked.

Today’s show had the benefit of a first-rate cast and conductor. Maestro Giacomo Sagripanti made his Met debut in this season’s run of Rossini’s perennial. He led a nimble and spirited performance. His support of the singers seemed effortless.

The title character, Figaro, gets what is likely the greatest entrance aria in opera – ‘Largo al factotum’. Moldovan baritone Andrey Zhilikhovsky gave a bravura reading of the famous number, which everyone has heard away from the opera house. Apparently, he was too busy shaving everyone in Seville and being the city’s number one handyman to shave himself as he had at least a week’s worth of stubble . His acting was vigorous and apposite.

Tenor Jack Swanson made his Met debut as Count Almaviva this season. The American lyric tenor has specialized in the operas of Rossini. He has a light voice, which seemed dry and somewhat underpowered in ‘Ecco, ridente’, especially compared to the powerful baritone of Joseph Lim, who sang Fiorello. The latter seems ready for bigger parts.

Swanson’s voice became fuller as the opera progressed. He does not have a lush sound, but his singing is nimble, and he negotiated Rossini’s complex vocal line with ease. His high notes were well-placed. His singing of ‘Cessa di più resistere’ was first-rate. He’s a tall and strong young man who easily carried his leading lady across the stage. No mean feat as she is no string bean.

A note about this aria. Up until recently, it was omitted. The modern advent of virtuoso Rossini tenors like Juan Diego Flórez restored it. It’s a fine display piece that grips the audience if sung by a tenor who can meet its demands as did Swanson. But it messes up the opera’s conclusion as the action stops for a recital piece that has little to do with the story. Nevertheless, it seems likely to be back for good.

Rosina was written for a contralto. There are so few around that it’s typically done by a mezzo. It used to be frequently performed by coloratura sopranos transposed up. Aigul Akhmetshina, who made a big impression as Carmen last season, was a revelation as the story’s love interest. She has a big, beautiful, and agile voice that handled Rossini runs and roulades with ease. Her voice is rich and lush. She even threw in a high C. ‘Una voce poco fa’ was splendid, as was singing in the lesson scene and the ensemble parts. Still under 30 she is an artist on the rise.

Dr Bartolo is one of opera’s greatest comic roles. Hungarian bass-baritone Peter Kálmán played the role mostly straight. His singing was spot on. ‘A un dottor della mia sorte’ was effective. If you saw Fernando Corena in the role, you’ll recall that a great basso buffo can steal the opera no matter how great the rest of the cast.

The only problem I found with the performance was Don Basilio. Alexander Vinogradov looked more like an accountant than the smarmy, covetous priest that he is. Vocally he was fine. Chaliapin’s portrayal of Don Basilio as a “vulgar, unctuous, greasy priest, constantly picking his nose and wiping his fingers onto his cassock,” is the ideal – if disturbing – depiction of Basilio.

Jay Dunn made his Met debut this season as Ambrogio. The role is a non-singing one. The character speaks just a couple of words and yawns a lot. Dunn played him as a terminally old man about to disintegrate before the curtain falls, except this production eschews a curtain. His mostly silent character added to the opera’s aura of insanity

The maid Berta gets a big aria in Act 2. The young American soprano Kathleen O’Mara did a fine job with ‘Il vecchiotto cerca moglie’.

Video director Gary Halvorson was again restrained with his close-ups. The show was an outstanding presentation of Rossini’s sublime and wacky comedy. Definitely worth a trip to the theater for the encore presentation next week if you missed today’s telecast..

Il Barbiere di Siviglia

Figaro……….Andrey Zhilikhovsky
Rosina……….Aigul Akhmetshina
Count Almaviva……….Jack Swanson
Dr. Bartolo……….Peter Kálmán
Don Basilio……….Alexander Vinogradov
Berta……….Kathleen O’Mara
Fiorello……….Joseph Lim
Sergeant……….Jonghyun Park
Ambrogio……….Jay Dunn

Conductor………. Giacomo Sagripanti
Video Director……….Gary Halvorson