Above: Jack Swanson as Count Almaviva and Andrey Zhilikhovsky as Figaro; a Jonathan Tichler/MET Opera photo
Author: Oberon
Saturday May 31st, 2025 matinee – With the exceptions of Aigul Akhmetshina and Alexander Vinogradov, all the singers in this afternoon’s Met matinee of Rossini’s BARBIERE DI SIVIGLIA were new to me: not only had I not heard them before, I hadn’t even heard of them. On the podium, Giacomo Sagripanti was also unfamiliar to me.
Above: Aigul Akmetshina as Rosina and Peter Kálmán as Dr. Bartolo; a Jonathan Tichler/MET Opera photo
It turned out to be a very worthwhile afternoon, not just because of the infectious rhythms and sheer brilliance of the score, but it also served to take my mind off – at least for the duration – of a looming domestic falling out.
In his Met debut season, Giacomo Sangripanti proved a deft Rossini maestro; his tempi seemed lively but never rushed, he never let the orchestra encroach on the singers volume-wise, and he allowed some added notes and embellishments from the singers, which is always fun. The orchestra played the overture swiftly and brightly and solo passages for oboe, horn, clarinet, and bassoon were all beautifully played.
The first voice to be heard was that of baritone Joseph Lim as Fiorello, and he made an excellent impression. In the past he has covered some roles at The Met (and he’d sung one of the Flemish Deputies in a DON CARLO I attended); I think he deserves more stage opportunities. After I got home and took a look at some of his on-line photos (there’s one above), I realized he had been at the stage door talking with friends after the performance. I wish I had chatted him up.
The lovely orchestral intro to Lindoro’s serenade set the scene for the very appealing singing of Jack Swanson as Count Almaviva, who had just made his Met debut in the opera’s previous performance. His singing is technically neat, with nice phrasing and an enticing dynamic range. The audience took to his singing at once, and he was warmly applaud throughout the performance.
Mr. Lim’s voicey Fiorello was again heard, and then Figaro, in the person of Andrey Zhilikhovsky opened his afternoon with a fantastic “Largo al factotum” bringing some subtle touches to the familiar piece, along with blooming top notes. He was unfazed by the super-fast tempo of the aria’s final section, polishing it off with a splendid, Met-sized high note. The house rang with cheers from the crowd, who seemed thoroughly engaged in the opera’s every note and word.
A special bouquet here to the excellent harpsichordist, Liora Maurer, who kept reminding us all afternoon of the instrument’s charm. The big-toned bass voice of the Hungarian Peter Kálmán asserted itself briefly, and then Mr. Swanson rewarded us with more poised lyricism with “L’amoroso sincero Lindoro”, to which Ms. Akmetshina briefly replied before being whisked from her window. Mssrs. Swanson and Zhilikhovsky now set up their plan to gain access to the Count’s beloved; their duet features some fluent coloratura from the baritone, in which the tenor joins; the pair harmonize to fine effect. Figaro urges the Count to play drunk when they gain admitance to the Bartolo household; the pair have more mirthful, high-speed singing, and then Mr. Swanson tops the first scene off with a golden high note.
Ms. Akmetshina’s “Una voce poco fa” showed off the warmth and depth of her luscious low range, along with engaging fiorature and some bright top notes; her singing flows on thru her playful warning that anyone who tries to cross her will pay for it. Another excited burst of applause was her reward. Mr. Kálmán’s prodigious bass returns…
…and we then meet the imposingly sung, characterful Don Basilio of Alexander Vinogradov (photo above). His “Calunnia” aria is full of insinuating inflections, but is always sung rather than giving in to buffo-parlando. His thunderous “colpa di canone” shook the house, and then a mini-cadenza took his voice high before plunging to the deepest depths…once again, fervent applause burst forth, filling the hall.
The wonderful Rosina/Figaro duet, “Dunque io son” found Aigul throwing in some extra top notes; Mr. Zhilikhovsky suggested she write a love note to her Lindoro, which – she slyly replies – she’s already done. Their duetting is speedy, laced with humor, and filled with luscious tone.
I’m beginning to feel the severe chill that almost always affects enjoyment of the opera up in the score desk area. Mr. Kálmán’s “A un dottor della mia sorte” blends power with insinuation in a buffo tour de force. It concludes with the basso’s perfect pattering and a hilarious finish capped by a massive final note.
We briefly meet the house-keeper Berta, usually sang by a mezzo but today taken on by soprano Kathleen O’Mara; the change in range will bring some fun in her aria later on.
The ensemble “Fredda ed immobile” was the part of the opera I liked most when I first heard it live (as “Frigid and motionless“) at Lake George many, many moons ago. The puttering introduction and Aigul’s chesty lead into the long, riotous Act I finale held my interest, but by now I was literally shivering, so I thought of going home.
But then a young Frenchman, Guillaume – visiting New York City for the first time – stopped by to chat and next thing I knew, Act II was about to start.
Ms. Akhmetshina turned Rosina’s music lesson aria, “Contro un cor” into a real showpiece, capped by a brilliant top note, whilst Mr. Vinogradov added some extra low notes to Basilio’s music. Mr. Kálmán expressed Dr. Bartolo’s fury vibrantly.
Ms. O’Mara (above, at the 2024 Operalia competition, where she won 1st prize) added some embellishments to Berta’s aria, along with interpolated top notes, including a real zinger at the end.
As the opera moves towards its ending, I must again mention Maestro Sangripati’s excellence; the music truly seemed so alive.
The charming “Zitti, zitti” trio was neatly dispatched by Ms. Akhmetshina and Mssrs. Swanson and Zhilikhovsky, and then the tenor took on the demanding “Cessa di piu resistare” with its beautiful andante, which segues into an elaborate tenorized setting of what sounds very much like the finale of LA CENERENTOLA. Mr. Swanson capped his impressive afternoon with a final top note, superbly sustained, igniting a tumultuous ovation during which each cast member evoked shouts of approval.
I very much enjoyed seeing Aigul again after the show, and she signed my program:
I had wanted to meet the other singers, but either I didn’t recognize them in time to approach them, or they seemed preoccupied.
~ Oberon
Oberon's Glade 