Předchozí recenze výroby
3The young lovers were astonishingly well cast and – crucial for this opera I suspect? – they generally had youth on their side. Fiordiligi is the character who is most conflicted by events and has the biggest arc – which Jessica Cale with her bright eloquent soprano created perfectly – from professing Fiordiligi’s rock-like constancy in ‘Come scoglio’, her tenderly introspective ‘Per pietà’, to her succumbing to the impassioned Ferrando in their ‘Fra gli amplessi’ Act II duet.
Andri Björn Róbertsson was a delightfully slime-ball Don Basilio. Björn Róbertsson used his height and physical flexibility to maximum comic effect, which only served to heighten his contributions to the various ensemble and make his calumny aria a masterpiece of comic timing, combined with Björn Róbertsson's fabulously dark bass-baritone voice.
Of the main principals, however, the strongest performance comes from Grant Doyle, whose baritone is masterly and who cannot help but make us feel sorry for Dr Bartolo as all of his assertions on how he cannot be outwitted are proven wrong.
