The Barber of Seville, Glyndebourne, BBC4, 18 Dec

[Prommer]

Maybe when we've got over the hangovers from the Hosts' Christmas Party - and I do apologise once again for my unfortunate accident on the Bouncy Castle - perhaps we should have an Inset Day on this sort of thing?

Mornington Crescent!

[Stanfordian]

I think we all knew that didn't we? And for anyone who didn't, it was more or less the first thing said by Danielle de Niese in the "making of" programme before the opera. She was an interesting choice (without any quotation marks) because of her voice type - and that curious additional aria from 1820 was good to hear. I don't think she was 'entirely predictable' casting at all - at Glyndebourne she's not sung several of her most successful roles, and this was her first Rosina.

So everyone knew that did they? Not everyone would have watched the preview. As far as I was concerned it was 'entirely predictable' casting to use the mistress of Glyndebourne.

[Richard Tarleton]

So everyone knew that did they? Not everyone would have watched the preview. As far as I was concerned it was 'entirely predictable' casting to use the mistress of Glyndebourne.

Sf, at the risk of going on about it, I think everyone with an interest in such things knows Ms de Niese's connection with Glyndebourne, regardless of whether they saw the previous programme. It was made abundantly clear there that casting was not on the basis of nepotism (I paraphrase), and that there is a proper committee which decides such things. That, and her not being the usual mezzo, made it anything but "entirely predictable". I think G'bourne has moved beyond being a sort of vanity project for the chatelaine - the casting was very much, as far as I can tell, on merit. Admittedly it kept the travel and accommodation costs down, but I'm sure that was secondary

[Pulcinella]

Watched tonight as plans changed.......

Did not like the production, though thought Figaro superb and the singing in general very fine. Not totally persuaded by De Niese.
Far too much ridiculous unnecessary stage business: what were the harpsichords all about (especially as fortepiano used orchestrally)?
And to have to resort to twirling library ladders showed a real lack of imagination (imho, that is).

[kuligin]

I attended this production and it was as a production a real disappointment, unlike the excellent Meistersinger and superlative Vixen.

So many of the opportunities to be really funny went missing, lots of unnecessary action but worse lots of necessary action missing, the whole music scene shaving scene was very flat, and the storm a non event. I much preferred as a production Opera Norths slightly tired 3rd revival earlier in the year.

The singing however was very good, superb Figaro, and as you say De Niese was a bit mixed, I prefer a mezzo..

[Il Grande Inquisitor]

I attended this production and it was as a production a real disappointment, unlike the excellent Meistersinger and superlative Vixen.

Completely. Of the five productions I reviewed at Glyndebourne this summer (I missed Figaro), Barbiere was the dud, both production-wise - a total lack of direction of the singers, some of whom spent the time mugging downstage - and on first night, some less than distinguished singing from DdN. Rosina's insertion aria “Ah, s'è ver, in tal momento”, composed for the soprano Joséphine Fodor- Mainvielle to sing in Paris in 1820, was completely unwarranted, especially when it meant that the tenor missed out on his “Cessa di più resistere”.

[jean]

Beautifully sung, but what a horrible backdrop!

...lots of unnecessary action...

Far too much ridiculous unnecessary stage business: what were the harpsichords all about (especially as fortepiano used orchestrally)?

As though the audience couldn't be trusted just to listen. Ironically we so often have an opera that should include dance, and we have to do without because they couldn't afford any dancers.

We need one harpsichord on stage; does Dr Bartolo also have to pretend to be playing one? And do we really need tyo prepare for the scene with all that nonsense at the end of the previous act, dismantling and reassembling them?