In contrast to Wagner and providing a refreshing change from the intensity of the Ring, I took in a marvellous production of Rossini’s Il barbiere di Siviglia at the Staatsoper Berlin directed by Ruth Berghaus in keeping with the commedia dell’arte tradition. Achim Freyer, born in Germany in 1934 and a protégé of Bertolt Brecht, widely considered the master of acting and mask art in Germany, came up trumps with an innovative staging concept complemented by a colourful and well-designed wardrobe.

A superb and talented team made up the earthy characters of this well-loved opera buffa suitably attired in the style of dress favoured by commedia dell’arte troupes. Therefore, Figaro is seen as Harlequin, the oldest and most famous character of this renowned Italian-based theatre genre which flourished in Europe from the 16th to the 18th century.

Outside of Italy, the form found great success in France and, to a certain extent, in Germany, therefore Berghaus and Freyer explore this unique theatrical style to the full thus making their take on Il barbiere di Siviglia distinctly different to any other production I’ve ever seen of it. Incredibly, too, this production has been in the Staatsoper’s repertoire for just over half a century. I clearly see why.

The staging was simplistic but totally effective. The whole of the theatre’s vast stage area was painted in an off-white colour but the actual performing space looked quite small in comparison focusing on a cloth-made set placed centre stage.

And in true farcical tradition and with split timing curtains were opened and curtains were closed while commedia dell’arte-type characters come and go at a high speed of knots caught up in a few compromising positions and locked into a host of shady situations. Such comic antics as these stamped their credentials on the overall plot of this very pleasing work with Dr Bartolo getting his fair share of ridicule full in the face.

Amusing, sparkling and visually appealing, the opening scene sees Rosina, the ward of Dr Bartolo, being serenaded by Count Almaviva, in the guise of a poor student named Lindoro. A great scene made so appealing by the quirky bunch of ‘stage musicians’ assisting Almaviva in his amorous adventure.

All the team of performers were on top form constantly cavorting about the stage like blue-arse flies in that wonderful and engaging animated style that punctuates the humorous trappings of the distinctive theatrical style of commedia dell’arte. Ranging from over-exaggerated gestures to clownish tumbling, the action was further enhanced by their long etched and stretched facial features, eccentric walking patterns and a host of extraordinary hand gestures that either expressed an idea or a feeling.

An unbeatable cast saw South African tenor, Siyabonga Maqungo, take the role of Count Almaviva who, incidentally, is doing an excellent job as Froh in Das Rhinegold in the Staatsoper Berlin’s new Ring cycle while Maurizio Muraro delivered a most stirring, comical and completely over-the-top account of Dr Bartolo, his deep bass voice fitting the part so perfectly.

The plumb role of Figaro, the lovable character keeping everyone on their toes and dutifully in place, was sung and acted with curiosity, ease and all-round flexibility by Romanian baritone, Gyula Orendt. I don’t think he could be bettered but only equalled, such was his performance.

Tara Erraught, a marvellous and engaging Irish-born singer, harbouring a wide-ranging mezzo-soprano voice with a personality to match, brilliantly lit up the pivotal role of Rosina especially with her run of coloratura passages so magnificently sung thus marking a grand and well-disciplined performance.

Croatian bass-baritone, David Oštrek, put in a good and diligent performance, too, as Don Basilio bringing out the acidic dry humour that makes this music teacher such a rewarding role and an integral part of the overall plot of Il barbeiere di Siviglia which Rossini and his Italian librettist, Cesare Sterbini, based on Pierre Beaumarchais’ comedy of the same name. The opera first saw the light of day at Teatro Argentina, Roma, in 1816, and has enjoyed popularity ever since.

The Barber’s an ideal opera in which to introduce the genre to young people therefore it was so pleasing to see so many families at the performance.

The Staatskapelle Berlin played well under the baton of Estonian-born conductor, Anu Tali, who in 1997 founded the Nordic Symphony Orchestra (formerly the Estonian-Finnish Symphony Orchestra) with her twin sister, Kadri, which she still conducts today.