Rosina Roccavilla

Not everyone will approve, but there are ways in which this super-budget set of Il barbiere diSiviglia puts to shame just about every other version of the opera there has been. Those it may not please are specialist vocal collectors for whom Il barbiere is primarily a repository of vocal test pieces. If, however, you regard Il barbiere (Rossini, ex-Beaumarchais) as a gloriously subversive music drama – vibrant, scurrilous, vital – then this recording is guaranteed to give a great deal of pleasure.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

Of Rossini’s thirty-nine operas Il barbiere di Siviglia is the only one to have remained in the repertoire since its composition. When the composer met Beethoven in Vienna the great man told Rossini to only compose buffa operas like Il Barbiere. Verdi was also a great admirer of the work as he was of Rossini’s opera seria and particularly his William Tell. Il Barbiere was one of the works Rossini squeezed in during his contract as Musical Director of the Royal Theatres at Naples and where he was supposed to present two new works every year.

Cecilia Bartoli made this recording when she was still in her early 20s, a mezzo with a rich, vibrant voice who not only copes brilliantly with the technical demands but who also gives a winningly provocative characterization. Like the conductor, Bartoli is wonderful at bringing out the fun.