Alejandro Pizarro-Enríquez / Umsagnir

Mit Bryony Dwyer erlebte das Publikum eine Violetta, die in allen Facetten, stimmlich wie darstellerisch überzeugend war. Da spürte man von der Lebensfreude der jugendlichen Lebedame bis zur Verletztheit und Todesangst alles, was diese Rolle ausmacht. Ihre Interpretation der Violetta war von sehr starker Intensität durchdrungen. Noch vor der Pandemie war sie ja auch an der Wiener Staatsoper als berührende Pamina und als launig-überdrehte Musetta aufgetreten.

Flórez set a high bar, but the other principals cleared it. Paolo Bordogna was an engagingly buffo Bartolo. As Rosina, Vasilisa Berzhanskaya’s coloratura was impeccable, her middle voice well controlled, her high notes sure-footed. The robust baritone of Étienne Dupuis’ Figaro was the perfect instrument for the wily barber with his finger in every Sevillian pie who helps guide Almaviva and Rosina to a happy ending. And as the scheming Don Basilio, Ildar Abdrazakov’s gloriously effortless and sonorous bass was a treat. Also good, if not exceptional, were Aurora Marthens as Bartolo’s nerve-wracked maid and Stefan Astakhov as Almaviva's servant, Fiorello. And if not champagne, the Staatsopernorchester under Michele Mariotti was at least a sparkling wine, delivering much of the elegance, wit, zest and glitter found in the music. But not all was well on stage. No less an expert than Verdi wrote that Barbiere “is the finest opera buffa that exists”. Rossini left plenty of room for slapstick in his comic opera, but there was simply too much of it in this performance; too many unnecessary pratfalls, too much mugging. Simply put, it was too laboured an effort to be funny. And so, the heavy handed attempts to provoke laughs from the audience soon met the same fate as the perpetually moving scenic backdrops: at first pleasing, they soon turned annoying, two blemishes on an otherwise enjoyable evening.