I first saw Rossini’s Il Barbiere di Siviglia when Lyrical Opera Theater staged it in February of 2024. I thoroughly enjoyed that performance and looked forward to having an opportunity to see a professional company produce it. Consequently, I was thrilled to learn that it was in the Metropolitan Opera’s lineup to be livestreamed in movie theaters around the country. I eagerly purchased a ticket and saw it Saturday morning at a local Cinemark theatre.
Count Almaviva (Jack Swanson), disguised as a poor student named “Lindoro,” arrives in Seville, Spain to serenade his love interest Rosina (Aigul Akhmetshina) outside her window. Rosina enjoys the serenade without her possessive and controlling guardian, Dr. Bartolo (Peter Kálmán), noticing. The witty and resourceful barber Figaro (Andrey Zhilikhovsky) creates a plan to help Almaviva reach Rosina: the count, whom Rosina knows as “Lindoro,” will pose as a drunk soldier asking to stay in Bartolo’s house. This is the first of several schemes to bring Almaviva and Rosina together while simultaneously trying to avoid Bartolo’s controlling maneuvers to marry Rosina himself and receive her large inheritance. After many comic machinations, the young couple prevails when Figaro convinces a notary to marry Almaviva and Rosina in place of marrying Rosina and Bartolo. Rosina’s music teacher Don Basilio (Alexander Vinogradov) acts as a witness, and they are able to finalize the marriage before Bartolo returns home. The doctor’s only option is to accept the young couple’s union.
The Metropolitan Opera’s production is visually stunning with a minimalist set and a cohesive color palette in period-appropriate costumes. The set consists of a group of panels that move as necessary to evoke street scenes or rooms in Bartolo’s house. When needed, a balcony window, a staircase, and iron fencing complete the look. The open, airy set design effectively shapes each scene and directs the audience’s attention to the action. Costumes in complementary shades of cream, burgundy, brown, and rose distinguish each character, and layering different textures such as satin or silk, leather, and lace give the clothing a luxurious look that is quite appealing.
Despite being a comedy, Il Barbiere di Siviglia requires technical sophistication to sing, and it gives artists ample room to play with character development. It contains a lot of recitative (rhythmically free sung passages used for dialogue and narrative) and coloratura (elaborate embellishment of a melody) that demand incredible vocal agility. Vocal passages are fast and must be precise. Peter Kálmán as Dr. Bartolo and Aigul Akhmetshina as Rosina sing these lines with impressive speed and clarity. I also really enjoyed Kálmán’s clear portrayal of Bartolo’s domineering nature. Akhmetshina, who previously starred in the title role of The Met’s production of Carmen, showcases Rosina’s stubborn refusal to succumb to Bartolo’s demands while asserting her own independent will. Akhmetshina also possesses a beautiful vocal tone that is warm and powerful in her lower register, yet crystal clear on top. Alexander Vinogradov, a bass singer, pleasantly surprises the audience with a standout portrayal of Don Basilio. His singing combines an exquisite deep tone with particularly clear diction, and for this role, his pacing and facial expressions convey the humor of his character’s actions.
The effective set, attractive costumes, and excellent performances create a beautiful, playful world that engages and holds the audience’s interest. Consistent with my previous experience seeing this opera, the vibrant, expressive music and the melodic Italian lyrics captured my attention so that I was less focused on the English subtitles. This opera is simply delightful, accessible, and easy to enjoy, whether someone is an experienced opera-goer or new to the genre. I particularly recommend it for someone who is considering seeing their first opera but who may be concerned that opera is overwhelming. Il Barbiere di Siviglia is a satisfying first taste of what the genre has to offer, and The Metropolitan Opera’s production does it justice. An encore broadcast of Saturday’s livestream will be available on Wednesday, June 4, 2025. Check Fathom Entertainment and Cinemark for local listings.
The Good Life 
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