| Rossini, Gioachino (1792-1868) | Il barbiere di Siviglia (Le Barbier de Séville) | Livret de Cesare Sterbini |
| Opera North | ||
| Stuart Stratford | Direction | |
| Giles Havergal | Mise en scène | |
| Russell Craig | Décors, Costumes | |
| Gerry Jenkinson | Lumières | |
| Katie Bray | Mezzo-soprano | Rosina |
| Nicholas Watts | Ténor | Le comte Almaviva |
| Gavan Ring | Baryton | Figaro |
| Eric Roberts | Baryton | Bartolo |
| Victoria Sharp | Soprano | Berta |
| Alastair Miles | Basse | Basilio |
| Nicholas Butterfield | Basse | Fiorello |
Rosina is rich, beautiful and in love with a dashing young Count. However, her elderly guardian, Doctor Bartolo, has designs on her himself, and does everything he can to put obstacles in the way of their happiness. But with the help of the sharp-witted Figaro, true love finally triumphs.
Tuneful and vivacious, Rossini’s score contains one irresistibly catchy number after another, ranging from the fireworks of Figaro’s ‘Largo al factotum’ to the seductive beauty of the Count’s ‘Ecco, ridente’.
Giles Havergal’s handsome period production delivers pure enjoyment with bags of style. This revival features three exceptionally engaging young singers in Nicholas Watts (Count), Katie Bray (Rosina) and Gavan Ring (Figaro). They are joined by one of the UK’s most distinguished operatic basses, Alastair Miles, as Basilio, and this classic production wouldn’t be complete without the comic genius of Eric Roberts as Bartolo.
