Il Barbiere di Siviglia review – terrific performances make Rossini revival sparkle

The fourth revival of Moshe Leiser and Patrice Caurier’s 2005 production of Rossini’s great comedy turns out to be one of the best. Carefully reworked by Thomas Guthrie, some of the staging’s problems do remain: the stylised elision of the 18th century with the 1960s still seems a bit too self-consciously clever and we lose sight, on occasion, of the opera’s emphasis on class and social mobility. But it gets a terrific performance, this time around, from a truly virtuoso ensemble cast with no weak links.

Javier Camarena, the Mexican tenor who has already taken the New York Met by storm, makes his Royal Opera debut as Almaviva, stopping the show with his second-act aria. His voice is bigger than many we hear in the role, his high notes go on forever, and he proves an appealing actor, particularly in his drunken soldier guise. His Rosina, another debutante, is Daniela Mack, all dark tone and formidable coloratura: José Fardilha’s fussy, unusually endearing Bartolo hasn’t got a chance against her tantrums and scorn.

Vito Priante’s twinkly-eyed, knowing Figaro, meanwhile, has effortless charm, and Ferruccio Furlanetto’s slimeball Basilio, his calumny aria balefully brilliant, is about as good as it gets. Henrik Nánási conducts with stylish panache and considerable elegance: the couple of moments of awkward stage-pit coordination on opening night should sort themselves out during the run. Tremendous fun.

• In rep until 11 October. Box office: 020-7304 4000.