Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Il barbiere di Siviglia (Der Barbier von Sevilla)

Wie im Geldscheinregen eine Gesellschaft mit ihren Gefühlen umgeht: Josef Köpplingers neue Inszenierung von Rossinis Barbiere di Siviglia hat das Zeug zum Renner im Repertoire der Nürnberger Oper

Ein frisches Rossini-Opernerlebnis, das nur haarscharf an der Höchstwertung vorbeischrammt. Dennoch zählt diese Produktion mit Solisten und Le Cercle de l'Harmonie zu einem meiner Highlights des Jahres.

Josef Ernst Köpplingers überschäumend-witzige Inszenierung von Rossinis größtem Hit ist zurück und macht nicht nur optisch Freude.

Axel Köhlers Inszenierung nimmt den Zuschauer mit auf einen quietschbunten, nebenwirkungsfreien LSD-Trip, auf dem man in den Genuss eines spielfreudigen Ensembles und transparent musizierenden Orchesters kommt.

Die Kinderfassung des Barbiers von Sevilla wurde zu stark gekürzt, um Substanz zu haben, doch mit fabelhaftem Spiel und Dirigat, strahlenden jungen Solisten und einer einfallsreichen Inszenierung bietet sie einen unterhaltsamen Nachmittag.

Three Russian singers star in a revival of the Italian director's academy production from 2003. 

L'Opéra de Toulon a remplacé la production de Semiramide qui aurait dû ouvrir sa saison par un magnifique concert lyrique.

Ouverture de saison lyrique à Montpellier avec le chef-d'œuvre de Rossini, bien traité par la distribution et la direction musicale mais desservi par la mise en scène.

In Barbiere, the humor is constantly in the music So this staging was best when the director didn't impose anything but followed and respected the text and especially the music.

The young singers spin any raw material into opera gold, sending the audience home as uplifted as if they’d just glugged a bellyful of Pimm’s.

Cast changes and a revival director who sharpens up the action make all the difference to this revival of Rossini's *Barber of Seville* in Glyndebourne's opening weekend. 

A solid cast led by Juan Diego Flórez revives Günther Rennert’s production, which still amuses after more than 400 performances. 

The renowned IOS is geared to young singers of fine merit and talent. It recently premiered a new production of Rossini’s Il barbiere di Siviglia near Zurich.

Marianne Crebassa and Maxim Mironov shine in a revival of Rossini’s masterpiece, for an evening of great fun.

Lotte de Beer’s Il barbiere di Siviglia for Dutch National Opera seems a surprisingly traditional spectacle... although it does come with a twist.

The Rossini Opera Festival stages a new production of the most famous of Rossini’s masterpieces to celebrate the composer in the 150th anniversary of his death.

Laurent Pelly’s elegant musical stave production of Il barbiere di Siviglia, from the Théâtre des Champs-Elysées, charms and delights at the Edinburgh International Festival.

Encore une fois, la magie du lieu sublime la qualité des spectacles, avec en prime un irrésistible Florian Sempey dans le rôle titre. 

From the stately front of The Grange, an impressive moustache looms large, welcoming the audience to a production of Rossini's masterpiece that baffles, confuses and delights the audience.

The inventiveness of Ruth Berghaus' classic staging is a clear as ever, even if this revival occasionally loses focus.

La nouvelle mise en scène de Laurent Pelly fait ses grands débuts. Distribution impeccable pour une production qui ne se cantonne pas à la légèreté de l'intrigue.

François de Carpentries' Oslo production of The Barber of Seville was both unfunny and underwhelming. 

A revival of Arden's 2016 production of Rossini's Il barbiere di Siviglia is lifted by a strong ensemble cast for Glyndebourne's tour.

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

Questionable identities, clandestine messages, love and money are the stuffs of Gioacchino Rossini’s Il barbiere di Siviglia, revived again in Zurich.

Coup d'envoi de la rentrée lyrique genevoise avec le Barbier de Séville, premier volet d'une trilogie consacré à Figaro. 

New National Theatre Tokyo hosts a stylish and humorous Il barbiere di Siviglia. 

Before the beginning of each opera, an announcement is made reminding the audience not to film, photograph, tweet, post, google, snapchat... Komische Oper Berlin premieres a hilarious Barber of Seville where the singers do nothing but just that.

For the latest revival of Moshe Leiser and Patrice Caurier's candy-striped production, the Royal Opera serves up the operatic equivalent of stodgy semolina.

Enjoy this light and elegant opera buffa based on the play by Pierre Augustin Caron de Beaumarchais before year's end, as 2016 marks the 200th anniversary year of its premiere.

Glyndebourne's annual performance at the Proms proves dramatically untraditional but musically solid.

Annabel Arden's new production, although decently sung and visually striking, is seriously under-directed, allowing forced acting to blunt the humour.

Stellar singing and excellent acting makes this a brilliantly satisfying and amusing 1970s take on Rossini's classic The Barber of Seville. 

Welsh National Opera's new production of The Barber of Seville disappoints in an uncoordinated performance in Bristol. 

Puisqu’ils constituent, finalement, les soubassements autour desquels devrait s’édifier le reste du spectacle, autant saluer d’emblée les prestations vocales solides de cette année. 

A well-worked revival of Elijah Moshinsky's production of Rossini's Barber of Seville offers gales of laughter and vocal delights at the Sydney Opera House, with starring roles for Paolo Bordogna, Anna Dowsley and Warwick Fyfe

Opera North's The Barber of Seville directed by Giles Havergal at the Grand Theatre Leeds is supremely theatrical and a classic in all senses of the word.

A wittily staged, but variably sung twelfth revival of Jonathan Miller's production at the Coliseum. 

François de Carpentries’ Oslo production of The Barber of Seville is back for its fourth revival. The singing ranges from the uninteresting to the outright excellent, but the production can still provide a thoroughly entertaining evening at the opera.

Bridging new and old, the young graduates of Teatro alla Scala's Academy joined seasoned Italian opera legends for an "Academy Project" performance of Gioachino Rossini's Il barbiere di Siviglia in Jean-Pierre Ponnelle's 46-year-old staging.

New York’s three year old, wonderfully innovative On Site Opera, has scored another success with a four-performance run of Giovanni Paisiello’s 1782 Il barbiere di Siviglia. 

Director Trevore Ross emphasized the silly and the madcap in Beaumarchais’ hectic plot to The Barber of Seville. The audience loved it. 

There’s nothing like a trip to The Barber to refresh you. This season, the Metropolitan Opera revives Bartlett Sher’s 2006 production of Rossini’s comic masterpiece, The Barber of Seville. 

Visually and vocally beautiful, but the case for updating the setting of this story is not made.

Originalement conçue, cette nouvelle production de l'opéra de Rossini a tout pour séduire, nous divertir et nous suprendre.

Elder led a performance that twinkled with Rossinian wit, while Serena Malfi left you clamouring for a swift return to Bow Street.

With this concert performance of The Barber of Seville, the Nederlandse Reisopera and its team of soloists, headed by an irresistible Mark Milhofer as Almaviva, treated the audience of the Concertgebouw to a feast of exuberant comedy and fine singing.

Just as we would often rather come out of a barber's with a haircut reasonably similar to the one with which we walked in, but just a bit smarter and tidier, sometimes it’s nice to see a well-known and much-loved opera done straight, and done well. 

Unlike its première, disaster is averted in Opera Holland Park's Il barbiere di Siviglia, where a solidly traditional production is lit up by some splendid vocal performances. 

The new Barber of Seville at the Lyric Opera, brought to life by the director Rob Ashford, set designer Scott Pask, and conductor Michele Mariotti, is not only intelligent and imaginative but also strings successions of images, gestures, and sung moments into truly satisfying large-scale forms.