Like all successfully filmed operas, Jean-Pierre Ponnelle's 1974 film of his 1972 La Scala production of The Barber of Seville weaves its magic on multiple levels: naturalistic lighting and camera-work which break through the invisible barrier of the proscenium arch and take the viewer to the heart of the action; wonderful casting and magnificent singing; opera singers who can act to the camera (Teresa Berganza, in particular, is luminous); and conducting which simply revels in the richness of a much-loved score (Claudio Abbado wrings every ounce of levity and brilliance... from the music). Rossini's 1816 work, based on Beaumarchais' Figaro characters and an earlier libretto by Paisiello, is one of the great joys of comic opera, crammed with familiar arias and duets, all of which drive the galloping pace of the book without ever interrupting the plot. Its ingredients of romance, disguise and intrigue merge in Rossini's extraordinarily vibrant and increasingly explosive score. At the heart of the tale is the love triangle of Count Almaviva (a lusty Luigi Alva), the wilful Rosina (Teresa Berganza at the peak of her mezzo-soprano powers) and her guardian with an ulterior motive Bartolo (Enzo Dara, constantly foiled). Thanks to the machinations of Figaro (Hermann Prey, making the most of his trademark theme "Largo al factotum") they are put through a series of hoops in which love conquers all and no real harm is ever done. On the DVD: If this Barber has dated at all it's largely thanks to Abbado's pudding-basin haircut and the film's inevitable 1970's quality. It is presented in standard 4:3 format with a PCM Stereo soundtrack, producing a merely average video-standard viewing experience. Apart from a good choice of subtitles there are no extras. A history of the production would have been useful. But these shortcomings, and the occasionally dull sound quality, are soon forgotten in the heat of the action.--Piers Ford [show more]
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