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Rossini - Il Barbiere Di Siviglia Movie Streaming. Movie Title: Rossini - Il Barbiere Di Siviglia Average customer review: Rossini - Il Barbiere Di Siviglia is available for streaming or downloading. Click Here to Stream or Download Rossini - Il Barbiere Di Siviglia

This production is expansive. The belief is very interesting: it begings in gloomy and white and, as the action develops, the color begins to be add act by act to destroy fleshy of color and fiesta. This is a bel canto opera… it means all the characters must be able to assure a pure singing line. Juan Diego Florez really does a enormous job: the stammer is unbiased what the rossini light tenor must be: flexible, comely with huge coloratura and high notes. Ruggero Raimondi makes a astronomical Don Basilio, even with a noticeable passe sigh, the singing and acting is, as always, first tainted. Pietro Spagnoli, the Figaro of this production, does not effect a mountainous impression. His Figaro lacks vivacity wich is primary for the character. Bruno Pratico makes a very amusing Bartolo and sings very fluent that difficult portion… Maria Bayo is a dissapointing Rossina. I don’t understand why she is smooth singing this part: The converse sounds ancient and effortful, the coloratura is heavy, and she has lost all the high notes… so, why you need a soprano singing Rossina if she cannot do something a sterling mezzo can do? Rossina IS a mezzosoprano roll, if a soprano attempt to insist the fragment there must be a reason for it: for exaple to bid a more youthful and naughty character… but when the speak shows age and anguish, what is the point if there are vast mezzos and light sopranos around to do it? I recommend this DVD basically for two reasons: the production in itself, and Juan Diego Florez, who gives a astonishing note including the aria “cessa di piu resistere” which is regulary omitted in most productions.

Not surprisingly, the performance of Juan Diego Florez makes this “Il Barbiere di Siviglia” special. I judge of the role of Count Almaviva as third in importance gradual that of Figaro and Rosina. But Florez has such a compelling stage presence and is such a spectacular Rossini tenor, that, like me, you may bag yourself fair waiting for him to arrive serve onstage. (We are rewarded for our patience when he performs the difficult and usually omitted aria, “Cessa di piu resistere,” shortly before the curtain falls.) Throughout the opera, Florez’s thunder rings out with precision and crystal clarity. His vibrato gives the vocal lines an electric sound as if they’re pulsating with energy. And he knows fair how and when to embellish Rossini’s gather. It’s simply bel canto and coloratura at its best.

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Unlike some of the other reviewers, I wasn’t disappointed with any of the other performers, particularly because their voices blend so well in the ensemble pieces. Pietro Spagnoli as Figaro may not advise the stage as we’re old to (after all, the opera is named after him), but he has a rich, flexible baritone scream (flexible enough to match Rosina’s rapid running couplets in their noted duet, “Dunque io son,” a feat few Figaro baritones can pull off) . Yes, Maria Bayo as Rosina omits a high ticket here and there, but her soprano inform has a gorgeous lyrical glide to it and she gives a keen performance. She is having a big time onstage and it’s infectious. It mattered not a bit to me that she’s somewhat older than Florez, her appreciate interest. Why shouldn’t she be?

I particularly enjoyed Bruno Practico’s interpretation of Dr. Bartolo as a rather dim-witted buffa character rather than portraying him in the usual scheme as stuffy and pompous. Practico’s near integrates Dr. Bartolo into the stage action better and makes his “patter” music (the Act I aria, “A un dottor” and the Act II duet with Almavira, “Chase e gioia”) more in line with the comical feel of the opera. He does a vast job performing this difficult music. It’s a treat to inspect the obsolete Ruggero Raimondi as the amoral Don Basilio, booming out “La calunnia” in Act I and adding to the laughable lunacy of Act II. Even Susana Cordon makes the most of her miniature role, giving us a wonderfully disheveled and quirky Berta but one who is shrewdly aware of exactly what’s going on at every moment in Bartolo’s household. Cordon gives an exciting and laughable rendition of her short Act II aria, a part that often feels as if it’s interrupting the action; but here it brings “bravas” from the audience.

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The sets, lighting, and costumes are inventive and explain up well on the TV veil (opera DVD’s are often so black) . I worship the unlit and white motif, made amusing with stripes, polka dots, and other assorted strange designs. The lighting designer was able to gain gloomy and white recognize as smart as if he’d worked with a chunky palette. Then, at impartial the true moment, the shadowy and white sets, costumes, and lighting give diagram to shimmering colors and carry us to the slay of this pretty production.

The bonus DVD contains informative interviews with the director, conductor, and performers. One example: Florez describes how he carefully writes out his “ornamentations” (as he calls them) ahead of time.

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