The Royal Opera’s new production of Rossini’s supreme Il Barbiere di Siviglia affords one of the few evenings of near perfection that I have ever experienced in an opera house. The only imperfection of any kind was at the beginning, and presumably is unlikely to happen again: a surprisingly, even alarmingly ragged account of the Overture, though even there there was a great deal of delightful pointing of phrases and revelling in Rossini’s strange ear for orchestral sonorities.
Disagree with half of it, enjoy reading all of it
TRY 3 MONTHS FOR $5
Our magazine articles are for subscribers only. Start your 3-month trial today for just $5 and subscribe to more than one view
Already a subscriber? Log in
Comments
Join the debate for just £1 a month
Be part of the conversation with other Spectator readers by getting your first three months for £3.
UNLOCK ACCESS Just £1 a monthAlready a subscriber? Log in