Il Barbiere di Siviglia

Sir Neville Marriner, Conductor

Thomas Allen, Francisco Araiza, Agnes Baltsa, Domenico Trimarchi, Robert Lloyd
Composer: Gioacchino Rossini
Librettist: Cesare Sterbini

Sir Neville Marriner does good work. I have yet to listen to a recording he conducts and not like it; his sense of the atmosphere and tempo in the work of Mozart and Rossini is impeccable. His recordings also usually have stellar casts, and this recording in particular has a cast that not only can sing beautifully, but can do a superb bit of acting while singing.

Thomas Allen is a surprisingly lively Figaro. There is no hint of the genteel reserve of his Don Giovanni or even his Gugliemo; instead, he gives us a fun and lovable rogue. Allen has a smoother tone than many others who have performed the part, as well as a great sense of rhythm. He was obviously enjoying himself while recording the part. (Who wouldn't?)

Francisco Araiza puts in another great performance. He is by far my favorite recorded Almaviva, combining really amazing agility with a very full, vibrant voice. The Penguin Guide cricitizes something they call "intrusive aitches" in his singing (I forget if they said it about this album or another, but it is a comment that appears repeatedly). I think I understand what they are talking about but I find the sharp definition of the notes Araiza produces to be one of the most pleasant things about his singing. Possibly this violates some rule about the mechanics of singing of which I am ignorant. Still, I think it sounds nice! Araiza's Almaviva is young, a little silly, but quite endearingly sincere. He and Allen do a superb job with the duet "All'idea di quel metallo" - one of my all-time favorites pieces!

Rounding out the lead trio is Agnes Baltsa's wonderful Rosina - charming, devious, and beautifully voiced. Her voice is a perhaps a little less rich than that of, say, Teresa Berganza, but she compensates for this by making her voice a part of the character's sharp-edged personality. "Una voce poco fa" is a lot of fun and a lovely vocal performance as well.

Domenico Trimarchi brings a sense of fun to the role of Bartolo; like Thomas Allen, one definitely senses that he is enjoying himself. His Bartolo has sharp edges, more intelligent than that of Enzo Dara but still oddly endearing in a humorous way. His one aria is filled with life and expression that adds a nice touch; his voice is a very warm sort of bass, distinguishing him nicely from Allen's baritone and Lloyd's more gravelly bass. (Too many opera recordings have characters that are hard to tell apart; this recording proves that the suitability of a voice for a role depends on more than the range of the notes!)