---
product_id: 8226127
title: "Rossini - Il Barbiere Di Siviglia (The Barber of Seville)"
price: "10733CFA"
currency: XOF
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reviews_count: 13
url: https://www.desertcart.sn/products/8226127-rossini-il-barbiere-di-siviglia-the-barber-of-seville
store_origin: SN
region: Senegal
---

# Rossini - Il Barbiere Di Siviglia (The Barber of Seville)

**Price:** 10733CFA
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- **What is this?** Rossini - Il Barbiere Di Siviglia (The Barber of Seville)
- **How much does it cost?** 10733CFA with free shipping
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## Description

• Acclaimed tenor, Juan Diego Flórez in one of his greatest stage roles. • Two disc set of the critically praised new production from Madrid’s Teatro Real. • A top international cast including soprano María Bayo and the great bass baritone Ruggiero Raimondi. • Includes a bonus disc featuring a fascinating look into the creation of Rossini's comic masterpiece. Cast List María Bayo (Rosina) Juan Diego Flórez (Count Almaviva) Pietro Spagnoli (Figaro) Bruno Praticò (Doctor Bartolo) Ruggiero Raimondi (Don Basilio) Marco Moncloa (Fiorello) Susana Cordón (Berta) Chorus and Orchestra of the Teatro Real, Madrid Gianluigi Gelmetti, conductor Directed by Emilio Sagi

Review: If you buy only one "Barber of Seville"...this is the one! - Teatro Real of Madrid has done it again. Any of you who are fond of gorgeously staged productions, surely have noticed how high the bar has been set by Madrid. The Gran Teatre Del Liceu is another one you can put real faith in. I am becoming fond of comparing productions, buying one then another. This one trumps all the others I have seen. I recall Il Viaggio A Reims and the stunning array of staggering talent. Maria Bayo was in Viaggio, but I didn't notice her so much-owing to all the melodic melee and endless parade of stellar vocals. So I was very pleased and stunned by Maria Bayo this time! I think my mouth was agape, and eyebrows raised. She received a very long and enthusiastic ovation near the denouement; that would bring tears to your eyes-and why should she not? She had finished yet another in an interminable series of tour de force arias, and this one the best, saved for last! What nabobs of negativism whose reviews I read at times on these pages. They bring new meaning to the phrase, 'finding flaws in Paradise'. Disregard any review that does not recognise how extraordinarily difficult these shifting tempi and syncopated melodic reparte are... to sing, act and move about, in choreographic harmony all at once! I bet some of these reviewers have difficulty setting up their dang DVD! You will adore Maria Bayo and if you have a heart at all, will find yourself wishing to God you could sing that purely, and sonorously, strongly, and indefatigeuably! Belle, belle! I have not begun to praise this production enough-space does not permit. But you will come to greatly admire Pietro Spagnoli, as THE perfect Figaro-what a voice, what stage presence, what great acting. Move over Placido (whom I adore, don't get me wrong). Juan Diego Florez..a more believable Almaviva, a more tender and enviable light tenor you will not find today;..except for Roberto Alagna, and his knockout wife and unsurpassable soprano, Angela Giorghiu. Now I am keen not to overlook a smaller part, after my mistake with Maria Bayo...I must give Ruggero Raimondi a huge, vigorous shout of hurrah...as does the whole audience! Absolutely a flawless , but somehow, affable, bad guy! and man what a thrilling baritone to hear.If an audio cd of a good baritone is missing in your collection, here is one! It's small wonder he is so beloved. I keep hearing reviewers point out where an aging performer is losing it. How...simon cowell like. It's haughty. Paula Abdul pointed out to the audience, after a particularly snide comment by Simon, that Simon has NEVER appeared on stage. You see what I mean by a degrading haughtiness? Perfection of interpretation does indeed come with age.American Idol is more about worshipping youth.( and fame and wealth). Older performers could easily blow those kids off the stage. Ruggero's interpretation and performance of this role practically steals the show - eats the scenery as it is often said. How is the arch nemesis, the do anything for money bad guy - make us smile - and just be utterly delighted! This is perfection! I tell you even the cast in the background is flawless. Everything works in this production. And I must again compliment the costume crew. Wow! Forgive my wordiness, but I must point out what is genius about the costumes. It relates to the beloved opera "Pagliacci". Before the industrial age, when everyone toiled in the fields without relief, the traveling minstrels would blow into town with great fanfare. And what was the attraction? Typically, great fun would be had with the power elite. It was the saturday night live of its day. What makes the SNL sketches work, is whoever is being made fun of, will be wearing the clothes Bush, or Hillary, .. or what Babwa Wawters is wearing; her mawking obsequiousness portrayed in charicature. The costumery really does not have to be so baloony or absurd. In this production of the barber, the costumes are perfect. They bring to mind the people, choreography, and culture of southern Spain of that era. The clothes are still , somewhat normal looking, yet frightfully close to clown oufits. The delicate balance is acheived consummately. It is all brilliant. I do hope to see more of all of these performers...and sets and staging by all involved in this production. A shimmering, scintillating,sparkling performance by every player, seen and unseen. Hurrah, hurrah, hurrah!
Review: Has it all: creative sets, costumes, and lighting; spirited performances; Juan Diego Florez - Not surprisingly, the performance of Juan Diego Florez makes this "Il Barbiere di Siviglia" special. I think of the role of Count Almaviva as third in importance behind 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 find yourself just waiting for him to come back 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 voice 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 just how and when to embellish Rossini's score. It's simply bel canto and coloratura at its best. 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 command the stage as we're used to (after all, the opera is named after him), but he has a rich, flexible baritone voice (flexible enough to match Rosina's fast running couplets in their famous duet, "Dunque io son," a feat few Figaro baritones can pull off). Yes, Maria Bayo as Rosina omits a high note here and there, but her soprano voice has a lovely lyrical flow to it and she gives a spirited performance. She is having a great time onstage and it's infectious. It mattered not a bit to me that she's somewhat older than Florez, her love 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 way as stuffy and pompous. Practico's approach 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, "Pace e gioia") more in line with the comic feel of the opera. He does a great job performing this difficult music. It's a treat to see the veteran Ruggero Raimondi as the amoral Don Basilio, booming out "La calunnia" in Act I and adding to the comic lunacy of Act II. Even Susana Cordon makes the most of her small 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 animated and funny rendition of her short Act II aria, a piece that often feels as if it's interrupting the action; but here it brings "bravas" from the audience. The sets, lighting, and costumes are inventive and show up well on the TV screen (opera DVD's are often so dark). I love the black and white motif, made comic with stripes, polka dots, and other assorted odd designs. The lighting designer was able to make black and white look as vivid as if he'd worked with a full palette. Then, at just the right moment, the black and white sets, costumes, and lighting give way to vivid colors and carry us to the end of this sparkling 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.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Contributor | Bruno Pratico, Emilio Sagi, Gianluigi Gelmetti, Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Teatro Real Madrid Contributor Bruno Pratico, Emilio Sagi, Gianluigi Gelmetti, Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Teatro Real Madrid See more |
| Customer Reviews | 4.4 out of 5 stars 124 Reviews |
| Format | Classical, Color, DTS Surround Sound, Subtitled |
| Genre | Music Video & Concerts, Musicals & Performing Arts/Classical |
| Language | Italian |
| Runtime | 2 hours and 46 minutes |

## Images

![Rossini - Il Barbiere Di Siviglia (The Barber of Seville) - Image 1](https://m.media-amazon.com/images/I/61COR8Ze3oL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ If you buy only one "Barber of Seville"...this is the one!
*by F***T on March 1, 2008*

Teatro Real of Madrid has done it again. Any of you who are fond of gorgeously staged productions, surely have noticed how high the bar has been set by Madrid. The Gran Teatre Del Liceu is another one you can put real faith in. I am becoming fond of comparing productions, buying one then another. This one trumps all the others I have seen. I recall Il Viaggio A Reims and the stunning array of staggering talent. Maria Bayo was in Viaggio, but I didn't notice her so much-owing to all the melodic melee and endless parade of stellar vocals. So I was very pleased and stunned by Maria Bayo this time! I think my mouth was agape, and eyebrows raised. She received a very long and enthusiastic ovation near the denouement; that would bring tears to your eyes-and why should she not? She had finished yet another in an interminable series of tour de force arias, and this one the best, saved for last! What nabobs of negativism whose reviews I read at times on these pages. They bring new meaning to the phrase, 'finding flaws in Paradise'. Disregard any review that does not recognise how extraordinarily difficult these shifting tempi and syncopated melodic reparte are... to sing, act and move about, in choreographic harmony all at once! I bet some of these reviewers have difficulty setting up their dang DVD! You will adore Maria Bayo and if you have a heart at all, will find yourself wishing to God you could sing that purely, and sonorously, strongly, and indefatigeuably! Belle, belle! I have not begun to praise this production enough-space does not permit. But you will come to greatly admire Pietro Spagnoli, as THE perfect Figaro-what a voice, what stage presence, what great acting. Move over Placido (whom I adore, don't get me wrong). Juan Diego Florez..a more believable Almaviva, a more tender and enviable light tenor you will not find today;..except for Roberto Alagna, and his knockout wife and unsurpassable soprano, Angela Giorghiu. Now I am keen not to overlook a smaller part, after my mistake with Maria Bayo...I must give Ruggero Raimondi a huge, vigorous shout of hurrah...as does the whole audience! Absolutely a flawless , but somehow, affable, bad guy! and man what a thrilling baritone to hear.If an audio cd of a good baritone is missing in your collection, here is one! It's small wonder he is so beloved. I keep hearing reviewers point out where an aging performer is losing it. How...simon cowell like. It's haughty. Paula Abdul pointed out to the audience, after a particularly snide comment by Simon, that Simon has NEVER appeared on stage. You see what I mean by a degrading haughtiness? Perfection of interpretation does indeed come with age.American Idol is more about worshipping youth.( and fame and wealth). Older performers could easily blow those kids off the stage. Ruggero's interpretation and performance of this role practically steals the show - eats the scenery as it is often said. How is the arch nemesis, the do anything for money bad guy - make us smile - and just be utterly delighted! This is perfection! I tell you even the cast in the background is flawless. Everything works in this production. And I must again compliment the costume crew. Wow! Forgive my wordiness, but I must point out what is genius about the costumes. It relates to the beloved opera "Pagliacci". Before the industrial age, when everyone toiled in the fields without relief, the traveling minstrels would blow into town with great fanfare. And what was the attraction? Typically, great fun would be had with the power elite. It was the saturday night live of its day. What makes the SNL sketches work, is whoever is being made fun of, will be wearing the clothes Bush, or Hillary, .. or what Babwa Wawters is wearing; her mawking obsequiousness portrayed in charicature. The costumery really does not have to be so baloony or absurd. In this production of the barber, the costumes are perfect. They bring to mind the people, choreography, and culture of southern Spain of that era. The clothes are still , somewhat normal looking, yet frightfully close to clown oufits. The delicate balance is acheived consummately. It is all brilliant. I do hope to see more of all of these performers...and sets and staging by all involved in this production. A shimmering, scintillating,sparkling performance by every player, seen and unseen. Hurrah, hurrah, hurrah!

### ⭐⭐⭐⭐⭐ Has it all: creative sets, costumes, and lighting; spirited performances; Juan Diego Florez
*by T***D on February 17, 2007*

Not surprisingly, the performance of Juan Diego Florez makes this "Il Barbiere di Siviglia" special. I think of the role of Count Almaviva as third in importance behind 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 find yourself just waiting for him to come back 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 voice 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 just how and when to embellish Rossini's score. It's simply bel canto and coloratura at its best. 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 command the stage as we're used to (after all, the opera is named after him), but he has a rich, flexible baritone voice (flexible enough to match Rosina's fast running couplets in their famous duet, "Dunque io son," a feat few Figaro baritones can pull off). Yes, Maria Bayo as Rosina omits a high note here and there, but her soprano voice has a lovely lyrical flow to it and she gives a spirited performance. She is having a great time onstage and it's infectious. It mattered not a bit to me that she's somewhat older than Florez, her love 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 way as stuffy and pompous. Practico's approach 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, "Pace e gioia") more in line with the comic feel of the opera. He does a great job performing this difficult music. It's a treat to see the veteran Ruggero Raimondi as the amoral Don Basilio, booming out "La calunnia" in Act I and adding to the comic lunacy of Act II. Even Susana Cordon makes the most of her small 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 animated and funny rendition of her short Act II aria, a piece that often feels as if it's interrupting the action; but here it brings "bravas" from the audience. The sets, lighting, and costumes are inventive and show up well on the TV screen (opera DVD's are often so dark). I love the black and white motif, made comic with stripes, polka dots, and other assorted odd designs. The lighting designer was able to make black and white look as vivid as if he'd worked with a full palette. Then, at just the right moment, the black and white sets, costumes, and lighting give way to vivid colors and carry us to the end of this sparkling 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.

### ⭐⭐⭐⭐⭐ Figaro, Figaro, Figaro...
*by D***S on September 10, 2006*

Okay, I am biased. I adore this opera, and it this production is my second favorite ever. That may sound like a backhanded compliment since I refer, of course, to the marvelous RCA recording made in the late 1950's with Fernando Corena as the definative Bartolo and many other superb portrayals that left so much to the imagination and was like being treated to a Chuck Jones cartoon in Italian. But then, that production was never made into a movie on DVD or otherwise. This film is fun, funny, clever, and oozing with the accurate look and feel of Spain somewhere at the turn of the 18th century, rather than the pre-French revolution era of Beaumarchais original story. Figaro's resemblance to Zorro at the end of the film seems more than coincidental, and that gave it an even greater charm. It works because despite the fact that it was conceived by a Frenchman, written as an opera by an Italian a generation later, and a German (Mozart) did the sequel long before Rossini came onto the scene, Jean-Pierre Ponnelle never forgot that this is essentially has a Spanish setting, and as a grand touch, the portrait of Dr.Bartolo (featured prominently in the comedy business of Act I) bears more than a striking resemblance to Salvador Dali's self-portrait, adding a further touch of lunacy to the proceedings. Production values aside, the singing was wonderful. I found myself singing along through many of the scenes, and the two-plus hours seemed to merrily dance away. This is a great "Barber of Seville", better than even the sequel film, which is also worth getting. They compliment each other beautifully, and are a must-have for the collections of opera lovers, Mozart/Rossini lovers, or fans of the Beaumarchais comedies. Worth every penny.

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