Came back to hear this splendid, superior performance. I rank it among the greatest performances of this opera that have been captured and preserved. Many thanks.
El timbre de este Almaviva es bellísimo!!!! Felicitaciones!!!! Florez lleva el récord : 22 años cantando el rol de un extraordinario Almaviva . Una valla muy alta dejada por célebres: Alva,, Blake, Florez. La Rossina es una excelente mezzo.
There is no such person as a 'conservative', we are conservative, liberal, and socialist in turns. Many a time the most radical, and progressive in politics is culturally conservative but not reactionary. I like productions in the theatre and the opera house to be conservative with splendid costumes, and scenery, and this production was everything that one can enjoy for those qualities as well as for the music and the acting and the singing. This was a delightful production, full of fun and comedy. This was one of the most splendid and delightful opera performances and I was entirely engaged with this cast.
Qu'est ce que je l'aime cet opéra! Je pense que je l'air regardé une centaine de fois! Et à chaque fois je suis enchantée. Merci Michele! Quel grand talent!
Wonderful performance from everyone - and a fine Conductor. But YOU are a perfect Almaviva. Voice perfectly produced - lovely tone - and wonderful, organic embellishments. And the Trills! Plus real elegance and perfect comic timing. Your Almaviva is a spoiled brat - he's always got whatever he wants - but sweet and kind-hearted.
bravissimi davvero! speciali complimenti a lei, Maestro Angelini, per la recitazione piacevolissima e la caretterizzazione molto convincentedi un ricco e capriccioso aristicratico
Ambientada en su lugar original Sevilla, España este montaje e interpretación es excepcional. Sin duda puedo afirmar que es el mejor "Barbero de Sevilla" realizado hasta lo que va de este siglo XXI. Buena esa a los realizadores, elenco e intérpretes del Teatro La Maestranza en Sevilla han realizado un trabajo de maravilla y qué mejor tributo a los 200 años de esta la más conocida ópera del maestro Rossini.
I saw an amazing performance with Michele Angelini (and Renato Girolami, for that matter) recently. Loved it so much, that I can hardly express how pleased I am to have found this gem on RU-vid! Thank you!
E' uno spettacolo veramente meraviglioso. Bravissimo Lei e bravissimi i Suoi compagni, complimenti! La messa in scena molto realistica e fatta con una grande sensibilità artistica. Grazie mille per questo video!
Bravo questo Angelini, colore di voce bellissimo, tanta grazia e presenza, un Almaviva perfetto, fa pure il trillo...non sappiamo dov'e' che canta piu' spesso ma lo consiglierei al posto di Flores e consimili di cui non se ne puo' piu'. Gli auguriamo tutto il bene possibile.
Uno de los mejores Barbieres que he escuchado en toda mi vida. Y concuerdo con los comentarios: este Almaviva es espectacular. Jamás había oído a un tenor rossiniano cantar los staccato y las escalas con tanta limpieza y claridad, sin por ello ceder en la belleza de la voz. El largo dúo entre él y Figaro del primer acto es sencillamente de antología. Y los demás cantantes no se quedan atrás. Debo añadir, varios días después, cuán bella es incluso la voz de un personaje tan secundario como es Berta.
Rossini must have loved seeing baritones faces turning blue trying to catch their breath singing Figaro's first aria, not to mention seeing so many becoming tongue-tied as the tempo speeds up. Rossini wouldn't have gotten much fun out of Davide Luciano, who does a commendable job keeping up with the lyrics and with his breathing control. I just wish the camera work had been better.
Quite the opposite! Rossini was writing in a style that was well-established and for which performing traditions already existed...we probably do not perform those fast patter arias in any way that Rossini would recognize. Rossini was never interested in putting his singers in any kind of difficulty...but singers of the age knew how to mold the music to their voices and their voices to the music...it was never just singing what was on the page! Davide was excellent...we had such a great time in this beautiful production! Glad you enjoyed it!
There are few out there...the Barbiere from Theatre des Champs-Elysees on DVD...recently video of Matilda di Shabran and Le Roi Malgré Lui have appeared online! Thanks for asking!
This is the BEST rendition of the opera I've ever seen! Can you please advise me where I can obtain a HD version of it please! All artists did a splendid job, but mr Angelini, you SHINE! Better that Luigi Alva!
Fortunately, Juan Diego Florez set the bar, before nobody sang Chessa di Piu Resistere aria live, after Juan Diego, now few by few new tenors are performing it :D.
There were many tenors before Juan Diego who sang the final rondo: Rockwell Blake always sang it, Nicolai Gedda recorded it, Ramon Vargas and Francisco Araiza all sang it before Juan Diego made his debut. I began studying this aria when I was 17 in school and first performed it live when I was 21, not because I was completing with anyone out there singing it but because years earlier I saw it in the score and was determined to learn it, without listening to any recordings. :D
But yes, because productions were being put on for Juan Diego that included the aria, there has been an expectation today for other people who sing those productions to perform it. According to the people and historians involved in this 200th Anniversary production, I am the first tenor since Manuel Garcia to sing "Cessa di più resistere" in the city of Seville!
@@MicheleAngeliniTenor For those wondering, Manuel Garcia was the first Almaviva (1816). He is best remembered today as founding a school of singing now known as the Bel Canto Method.
There is no official aria for Rosina in Act 2 except for the lesson scene. You might be referring to the Emilio Sagi production from Madrid (which I did in Bilbao) where an Aria di Baul was inserted in that position because Rossini wrote several alternative arias for Rosina, but it is not traditional, not expected, and not a primary component of Barbere. In fact, when we did that production in Bilbao, that alternative aria for Rosina was not included.
@@MicheleAngeliniTenor "L'inutile precauzione" of Annabel Arden in Glyndebourne 2016 made its dirty work (it was a joke). Anyone else "L'inutile precauzione" won't impress me. This is a pity.
@@DE_OMNIBUS_DUBITANDUM I am not familiar with it...but I'm pretty sure there are plenty of excellent productions out there, and this is one of the most classic ones possible.
BARTOLO: Ah! Barbiere d'inferno tu me la pagherai! Qua, Don Basilio, giungete a tempo! Oh! lo voglio, per forza o per amor, dentro domani sposar la mia Rosina. Avete inteso? BASILIO: Eh, voi dite benissimo e appunto io qui veniva ad avvisarvi, ma segretezza E giunto il Conte d'Almaviva. BARTOLO: Chi?L'incognito amante della Rosina? BASILIO: Appunto quello. BARTOLO: Oh diavolo Ah, qui ci vuol rimedio BASILIO: Certo, ma alla sordina. BARTOLO: Sarebbe a dir? BASILIO: Cosi, con buona grazia bisogna principiare e inventar qualche favola che al pubblico lo metta in mala vista, che comparir lo faccia un uom infame, un'anima perduta io, io vi servirò: fra quattro giorni, credete a me, Basilio ve lo giura noi lo farem sloggiar da queste mura BARTOLO: E voi credete? BASILIO: Oh certo! Eil mio sistema e non sbaglia. BARTOLO: E vorreste? Ma una calunnia BASILIO: Ah, dunque la calunnia cos'è voi non sapete? BARTOLO: No, davvero BASILIO: No? Uditemi e tacete
O yes... Piano pianissimo... Venite quà... They are supposed not to attract attention... So they engage the full Carnegy hall Synphony orchestra waring noisy boots.
Non c'e una versione 'originale' di Paisiello. Ha scritto un suo Barbiere con un libretto completamente diverso e Rossini, una generazione dopo, ha scritto il suo. Sono due opere diverse.
@@MicheleAngeliniTenor Paisiello wrote his "Barber" to almost the same libretto. His opera is excellent but unfortunately much worse than Rossini's opera. Rossini did great harm to Paisiello by composing such a great work. Thank you for the wonderful performance of the great final aria of the Count.
@@zbigniewzmudzki6715 Thank you, I'm glad you enjoy it! But I must correct what you have said. Paisiello did not write an original version and the libretto is completely 100% different from the one that Cesare Sterbini wrote almost 35 years later for Rossini. Rossini did not do any harm to Paisiello or his opera. Paisiello's opera was still VERY popular until finally tastes changed and Rossini was preferred and the vocal writing meant that it could demonstrate more technical ability of the singers than what Paisiello wrote. There were many other composers before and after Paisiello that wrote their own versions of Barbiere, they just never became popular. Paisiello also did the same thing to Pergolesi when he decided to set "La serva padrona." This was very normal that many composers would set the exact same libretto to music, especially the libretti of Metastasio, for example. Rossini used a different libretto entirely. Paisiello is 4 acts, Rossini is only 2. Also, it has to be remembered that Paisiello was not a very nice person...he was a very jealous composer and there is evidence that he used to be intentionally harmful to other contemporaries to make sure he had more success than they did. So, I do not have any sense of shame for him. It doesn't really matter because all these things happened more than 200 years ago...but the comparison of Paisiello and Rossini is really not a useful argument. They are two different composers from very different generations with very different skills. Bartolo simply makes fun of "il vecchio stile" and is not directly a reference to Paisiello. :-)
