Opera review: Il Barbiere di Siviglia
THERE are two versions of Rossini's Barber of Seville commonly performed and the main difference is whether or not the spectacular and phenominally difficult tenor aria Cessa di piu resistere is included close to the end of the opera.
Even Rossini tended to omit it, possibly because asking an average tenor to attempt it might constitute cruel and unusual punishment.
In recent years almost the only man who could be trusted to perform it has been the wonderful Peruvian Juan Diego Florez (you remember him - he was the Inca king who sang Rule Britannia so brilliantly at the Last Night of the Proms).
Well now there is another, who is perhaps even more sensational that Juan Diego himself. The Mexican tenor Javier Camarena confirmed his reputation as opera's new superstar with a scintillating performance at the Royal Opera House.
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This is the fourth revival and Moshe Leiser and Patrice Caurier's hilarious 2005 production of Il Barbiere and thanks to Camarena and the rest of a brilliant cast, it may fairly claim to be the best.
Count Almaviva (Camarena) is in love with Rosina (Daniela Mack) but courts her in disguise as he does not want her to be swayed by knowledge of his aristocratic credentials. His other problem is posed by Rosina's old but lecherous guardian Dr Bartolo (Jose Fardilha) who wants to marry her himself. Aided by the mischief-making barber Figaro (Vito Priante), Almaviva infiltrates himself in Bartolo's house and sets about seducing Rosina and outwitting Bartolo, finally securing her hand and celebrating in that vocally amazing aria.
Even before the end, however, the Covent Garden audience were treated to a real treat by a group of glorious singers who could not only act but also showed huge comic talent. This opera relies on a good comic double-act between Almaviva and Figaro, which Camarena and Fardilha delivered with consummate skill, but on this occasion the rest of the cast also contributed highly to an evening of glorious fun.
Once or twice, the synchronisation of orchestra and singers threatened to get discoordinated, but conductor Henrik Nánási always restored control before it became a problem. But whatever the small difficulties, Camarena's vocal gymnastics more than compensated.
His final aria, including its lead-up, lasts almost ten minutes, and it is ten minutes of dazzling singing, featuring impressively high notes, bewildering speed and full of tonsil-tangling coloratura twiddly bits - and he makes it all sound easy. This was a real show-stopper and certainly one of the most impressive individual performances I have ever heard. An evening of pure joy at the opera.
Box Office: www.roh.org.uk or 020 7304 4000 (showing until October 11)
