Classical Concert Reviews Cinci

@cincinnatiopera continued its 103rd season with a riotous performance of Gioacchino Rossini’s Il Barbiere di Siviglia (The Barber of Seville). Perhaps the most popular of Rossini’s operas, it is full of tuneful Melodie’s that have become engrained in popular culture in the 200+ years since its first performance in 1816.
The superlative cast was headed by tenor Alasdair Kent, who lent a mellifluous, joyful and wistful voice to his interpretation of Count Almaviva. Mezzo-soprano Emily Fons (@singwithfonsy), in her Cincinnati Opera debut, gave a wondrous and captivating turn as Rosina, with a voice possessing the vocal fireworks of Joyce DiDonato and the huskiness of Agnes Baltsa.
Baritone Rodion Pogossov (@rodion_pogossov) played the talented, yet boastful barber Figaro to utter perfection, with a voice full of heft and vitality and possessing a God-given gift of outstanding comedic timing. Bass-baritone Peixin Chen (@onecpx) was likewise splendid as the kindhearted Dr. Bartolo, with a voice reminiscent of greats like Samuel Ramey. Bass Nicholas Newton (@nichonewt) as Don Basilio was nuanced, fun and enthusiastic throughout.
@cincysymphony and the men of the Cincinnati Opera Chorus were all led under the spirited direction of Christopher Allen, who conducted and also provided harpsichord accompaniment to all the recitatives interspersed throughout the opera. The only downside I would mention is that the timpanist in the pit was not needed past the overture and the chorus did not have more to sing overall.
Regardless, Barber of Seville was a triumph that left Music Hall’s capacity audience in stitches. Looking forward immensely to closing out the season with Puccini’s masterpiece Madama Butterfly later this month.