| Rossini - Il Barbiere Di Siviglia (The Barber of Seville) | 
 enlarge | Director: Emilio Sagi
Actors: Juan Diego Florez, Ruggero Raimondi, Maria Bayo, Pietro Spagnoli, Bruno Pratico
Studio: Decca
Category: DVD
List Price: $39.98
Buy New: $16.74
You Save: $23.24 (58%)
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Avg. Customer Rating:  19 reviews
Sales Rank: 17411
Format: Classical, Subtitled, Color, Dts Surround Sound
Languages: English (Original Language), German (Subtitled), English (Subtitled), Spanish (Subtitled), French (Subtitled)
Rating: NR (Not Rated)
Number Of Items: 2
Running Time: 166
Discs: 1
Aspect Ratio: 1.33:1
Shipping Weight (lbs): 0.3
Dimensions (in): 7.4 x 5.4 x 0.6
MPN: 000529509
UPC: 044007431115
EAN: 0044007431115
ASIN: B000BAQ8A0
Theatrical Release Date: 2005
Release Date: November 15, 2005
Availability: Usually ships in 1-2 business days
Condition: Brand new Item. CD, DVD, Book, VHS more than 400 000 titles to choose from. ALL days Low Price !
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| Editorial Reviews:
Description
a€ Acclaimed tenor, Juan Diego FlArez in one of his greatest stage roles. a€ Two disc set of the critically praised new production from Madrida€™s Teatro Real. a€ A top international cast including soprano MarAa Bayo and the great bass baritone Ruggiero Raimondi. a€ Includes a bonus disc featuring a fascinating look into the creation of Rossini's comic masterpiece. Cast List
MarAa Bayo (Rosina)
Juan Diego FlArez (Count Almaviva)
Pietro Spagnoli (Figaro)
Bruno PraticA (Doctor Bartolo)
Ruggiero Raimondi (Don Basilio)
Marco Moncloa (Fiorello)
Susana CordAn (Berta)
Chorus and Orchestra of the Teatro Real, Madrid
Gianluigi Gelmetti, conductor
Directed by Emilio Sagi
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| Customer Reviews: Read 14 more reviews...
 Barber of Seville August 23, 2008
A very imaginative version of the opera. It is well done and the contrast between the black and white scenes and the use of color towards the end were remarkable. It holds the viewers attention with singers who can also act. I viewed it with my 11 year old granddaughter and she was never bored and asked questions which made it evident she was captivated by the story. I recommend it for all ages.
 Excellent but too much Mack Sennett July 30, 2008
1 out of 1 found this review helpful
This is an excellent Barber, good orchestra and singing, but I gave it only four stars because I thought it strained too much for laughs and reminded me of the slapstick in the old silent films. OK this is a comic opera but that doesn't mean it can't be overdone. For the perfect mix of characters, singing and comedy, I still think the Rawnsley, Ewing one on Kultur can't be beat.
Buy it! I'll tell you why . . . March 11, 2008
2 out of 3 found this review helpful
I almost didn't buy it because of the STUPID COSTUMES. But the DVD I had bought featured a homely guy with a great voice. He just wasn't convincing as a "love interest." This tenor JUAN, on the other hand, is the handsomest opera singer I've ever seen, and my girlfriend went NUTS over him as well as the audience. The enunciation of the singers was superb, and the whole cast was hilariouly funny. So much more enjoyable than the other DVD with the American singer from Detroit. I would just love to slap the costumer because the polka dots didn't work, and made the leading lady look like a matron instead of a young girl. The sets were terrific though. This is an opera you can see over and over again for the acting and the laughs.
If you buy only one "Barber of Seville"...this is the one! March 1, 2008
5 out of 5 found this review helpful
Teatro Real of Madrid has done it again. Any of you who are fond of gorgeously staged productions, surely have noticed how high the bar has been set by Madrid. The Gran Teatre Del Liceu is another one you can put real faith in. I am becoming fond of comparing productions, buying one then another. This one trumps all the others I have seen.
I recall Il Viaggio A Reims and the stunning array of staggering talent. Maria Bayo was in Viaggio, but I didn't notice her so much-owing to all the melodic melee and endless parade of stellar vocals. So I was very pleased and stunned by Maria Bayo this time! I think my mouth was agape, and eyebrows raised. She received a very long and enthusiastic ovation near the denouement; that would bring tears to your eyes-and why should she not? She had finished yet another in an interminable series of tour de force arias, and this one the best, saved for last! What nabobs of negativism whose reviews I read at times on these pages. They bring new meaning to the phrase, 'finding flaws in Paradise'. Disregard any review that does not recognise how extraordinarily difficult these shifting tempi and syncopated melodic reparte are... to sing, act and move about, in choreographic harmony all at once! I bet some of these reviewers have difficulty setting up their dang DVD! You will adore Maria Bayo and if you have a heart at all, will find yourself wishing to God you could sing that purely, and sonorously, strongly, and indefatigeuably! Belle, belle!
I have not begun to praise this production enough-space does not permit. But you will come to greatly admire Pietro Spagnoli, as THE perfect Figaro-what a voice, what stage presence, what great acting. Move over Placido (whom I adore, don't get me wrong). Juan Diego Florez..a more believable Almaviva, a more tender and enviable light tenor you will not find today;..except for Roberto Alagna, and his knockout wife and unsurpassable soprano, Angela Giorghiu.
Now I am keen not to overlook a smaller part, after my mistake with Maria Bayo...I must give Ruggero Raimondi a huge, vigorous shout of hurrah...as does the whole audience! Absolutely a flawless , but somehow, affable, bad guy! and man what a thrilling baritone to hear.If an audio cd of a good baritone is missing in your collection, here is one! It's small wonder he is so beloved. I keep hearing reviewers point out where an aging performer is losing it. How...simon cowell like. It's haughty. Paula Abdul pointed out to the audience, after a particularly snide comment by Simon, that Simon has NEVER appeared on stage. You see what I mean by a degrading haughtiness? Perfection of interpretation does indeed come with age.American Idol is more about worshipping youth.( and fame and wealth). Older performers could easily blow those kids off the stage.
Ruggero's interpretation and performance of this role practically steals the show - eats the scenery as it is often said. How is the arch nemesis, the do anything for money bad guy - make us smile - and just be utterly delighted! This is perfection!
I tell you even the cast in the background is flawless. Everything works in this production. And I must again compliment the costume crew. Wow! Forgive my wordiness, but I must point out what is genius about the costumes. It relates to the beloved opera "Pagliacci". Before the industrial age, when everyone toiled in the fields without relief, the traveling minstrels would blow into town with great fanfare. And what was the attraction? Typically, great fun would be had with the power elite. It was the saturday night live of its day. What makes the SNL sketches work, is whoever is being made fun of, will be wearing the clothes Bush, or Hillary, .. or what Babwa Wawters is wearing; her mawking obsequiousness portrayed in charicature. The costumery really does not have to be so baloony or absurd.
In this production of the barber, the costumes are perfect. They bring to mind the people, choreography, and culture of southern Spain of that era. The clothes are still , somewhat normal looking, yet frightfully close to clown oufits. The delicate balance is acheived consummately. It is all brilliant.
I do hope to see more of all of these performers...and sets and staging by all involved in this production. A shimmering, scintillating,sparkling performance by every player, seen and unseen. Hurrah, hurrah, hurrah!
Florez personifies Almaviva: fine overall cast for singing and acting February 8, 2008
I didn't understand the opera until I saw this version. Rossini's original title was "Almaviva, or The Useless Precaution." With "Cessa di piu resistere" restored to the score, it's suddenly clear that Rossinni's "Il Barbiere" was always intended to be more focused on Almaviva/Lindoro than anyone else. It isn't about Figaro; yes, he does have the famous aria, "Largo al factotum" in this opera, but the story is about Almaviva and Rosina.
I enjoyed this performance from the moment early morning workers wheeled sculpted white buildings onto the stage during the overture. I think Florez' performance of "Cessa" here is even better than on his "Rossini Arias" musical CD. From beginning to end, he is a master of every bit of this role. If it weren't for the difference in time, you might think Rossini had written it for him.
I was delighted to see Ruggero Raimondi as Basilio. His role here is smaller here than when he rendered what has been, for me, a definitive performance of Escamillo. Despite that, he has put no less care into the singing or characterization of the old charlatan who changes sides in the middle of a plot.
Maria Bayo delivers a lovely performance as Rosina. Her voice is sweet, pure and strong, and her characterization is precisely what Rosina's should be: youthful, agile, a bit reckless, resourceful and loving.
My history with this opera has been interesting. I started with Maria Callas' recording, and listened to it happily for years. Later on, I acquired the Black Dog Opera Library (hardback librettos) version, which features Beverly Sills as Rosina, and I discovered that the Callas recording had left off the delightful finale, "Di si felice innesto" which Sills ornaments with lovely over the top trills in its closing choruses.
I had never heard of Almaviva's final aria "Cessa di piu resistere" until I was doing some research for a project of my own. Once I knew I was missing it, I wanted to hear it. I got my wish when Florez recorded an album of Rossini Arias. I bought it and loved it.
When this DVD came out, I knew I had to buy it, and I'm glad I did. Whether Rossini chose to shift the focus from Figaro to Almaviva as a way of making it clear that he did not intend to insult Paisello or because he was writing to show off the voice of the tenor who would sing Almaviva is unimportant. What is important is that Rossini's is the definitive Il Barbiere, and if you want to hear Almaviva sung as Rossini must have imagined, you need to get this version.
Besides the need to hear Florez, this DVD is a must have for opera lovers because every member of this cast acts. (As we know, that cannot be said of every singer, or even of every singer who is recorded on DVD. It's true that they're acting for the stage, but this is a stage production, so they should be acting for the stage. For us, since it's a broad comedy, the broad gestures used for the stage aren't distracting.)
A side note: It is a pity that those who decided to film the performance didn't think the makeup through. No, the audience in the theater wouldn't notice that the script calls for Bayo to be younger than her actual years, but the film audience will. It's even sadder because she's slender and agile. (She climbs up on a pedestal to sing "Un voce poco fa.") It would not have been hard to choose a more becoming hairstyle and makeup for her and a more mature style for Florez. Yes, it's harder to add ten or fifteen years to the age of someone in his or her thirties, but it would not have been too hard for a single performance. Don't hesitate to buy the DVD for that reason, though. It's a great show!
On the whole, I'm thrilled with the disc, and would recommend it highly, whether as a first introduction to "Il Barbiere," to Rossini, or to opera.
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