Předchozí recenze výroby
2Count Almaviva was well taken by Argentinean Germán E Alcántara (...)in his first major role here, showed vocal and histrionic gifts. In the Act 2 altercation with the Countess his violent side was visibly and vocally only just in check, an aristocrat aware he is losing control of events.
Anita Hartig and Ellie Dehn share similar voice types, which makes their fourth-act shenanigans when Susanna and the Countess swap identities more convincing than usual. Each has a feather-light timbre – indeed, there were moments in "Dove sono" when Dehn's could have done with guy ropes to weigh it down – and they bring such airiness to their big duet, "Sull'aria", that they all but waft away on the breeze. The scene stealer in this revival is Heather Engebretson as Barbarina, who peeps in like a schoolgirl then pipes up like a diva. The young American is a name to watch and a perfect partner for Kate Lindsey's gangling, hopelessly priapic Cherubino. Of the opera's other comic roles, the great mezzo Ann Murray is on her best vinegary form as Marcellina, but the Bartolo and Basilio of Carlo Lepore and Krystian Adam are a touch under-characterised. Ivor Bolton conducts a ROH Orchestra composed of stay-at-homes from the company's Japanese tour, no doubt bolstered by deps, but the standard is as high as one would expect of a band bearing the house name. Despite some fastish tempo choices, matters are mostly (but not invariably) secure between pit and stage, so Mozart carries the day and bliss is king.
