Few opera productions have been around the block quite as many times as Jonathan Miller’s English National Opera staging of Rossini’s The Barber of Seville, first seen in 1987 and now revived for the 12th time.
Since Miller no longer oversees revivals, Peter Relton has taken charge. While some of Miller’s sardonic wit has drained away, the recipe remains the same: one part commedia dell’arte to two parts music hall with, in the case of Andrew Shore’s grumpy Bartolo, a pinch of Les Dawson and Frankie Howerd.
The staging cheerfully celebrates the opera’s absurd and glorious triviality. If it isn’t perfect, it reminds us why ENO is so valuable, not least in the instantaneous communication that opera only delivers when sung in the language of the audience.
There are two other outstanding performances that find a clear path through the perilous coloratura. As the suitor Almaviva, the Mexican tenor Eleazar Rodriguez takes the highs and the lows in his stride, while as Rosina, the object of his affections, Kathryn Rudge delivers accuracy and a winning line in flouncing cheekiness. Conductor Christopher Allen ensures the orchestra matches the on-stage exuberance.
Latest music reviews
On opening night, Jonathan Miller took an unexpected bow. Endearingly, he had not dressed for the occasion: he looked as if he’d just emerged from a snooze in his study. As the warm applause testified, his productions have served ENO well.
Until November 11, Coliseum (020 7845 9300, eno.org)
Follow Going Out on Facebook and on Twitter @ESgoingout
