Sparkling Barber From Juventus Lyrica

ArgentinaArgentina Rossini, Il Barbiere di Siviglia: Soloists, Chorus and Orchestra of Juventus Lyrica, Hernán Sánchez Arteaga (conductor), Teatro Avenida, Buenos Aires. 28.6.2013. (JSJ)

Figaro:Armando Noguera / Cristian Maldonado
Count: Iván Maier / Patricio Oliveira
Rosina: Mariana Carnovali / Laura Polverini
Bartolo: Alberto Jáuregui Lorda
Fiorello: Gabriel Carasso / Javier Martínez
Basilio: Maximiliano Michailovsky / Roman Modzelewski
Berta: Verónica Canaves / Patricia Villanova
Ambrogio: Gabriel Carasso
Official: Alfredo Martínez

Director: Ana D´Anna
Sets/lighting: Gonzalo Córdova
Costumes: Lizi Tarasewicz and Ponchi Morpurgo
Chorus: Hernán Sánchez Arteaga

El barbero de Sevilla 1
Juventus Lyrica’s Barbiere di Siviglia – . Photo Liliana Morsia

Figaro, the barber of Seville – in Rossini’s opera of that name – as befits the boasts on his demand in ‘Largo al factotum’, is a character filled with boisterousness and energy. But how far to take this is in a work brimming with fun and absurdity without it becoming exaggerated – as here in Ana D´Anna’s new production of this work for Juventus Lyrica?

Armando Noguera, an Argentine who has built a promising career in Europe over much of the last decade, brings to Figaro agility and vocal excellence. However, this was somewhat marred by exaggerated playing to the audience and frequent tendencies to break into dance – flamenco style and tap – and hoots of laughter.

Similarly with the gathering together by Fiorello at the start of the rather large crowd of musicians, who came in through the auditorium to the stage.

Nevertheless this was a production that sparkled from start to finish. The setting was simple but effective, serving – with minor alterations – both for the square outside Bartolo’s house and the different interiors.

Tenor Iván Maier brought fine acting and good line and style to the role of the Count, while dark timbred soprano Mariana Carnovali, currently resident in Vienna, was a shrewd Rosina.

Alberto Jáuregui Lorda brings years of experience and his portrayal of Don Bartolo was effective and well and clearly sung, as was Maximiliano Michailovsky’s bumbling Don Basilio.

The orchestra were also on good form under Hernán Sánchez Arteaga, who was also responsible for the largish chorus.

Jonathan Spencer Jones