[Met Performance] CID:65230
Il Barbiere di Siviglia {91} Metropolitan Opera House: 02/22/1917.

(Review)


Metropolitan Opera House
February 22, 1917


IL BARBIERE DI SIVIGLIA {91}
Rossini-Sterbini

Figaro..................Giuseppe De Luca
Rosina..................Maria Barrientos
Count Almaviva..........Fernando Carpi
Dr. Bartolo.............Pompilio Malatesta
Don Basilio.............Andrés De Segurola
Berta...................Marie Mattfeld
Fiorello................Vincenzo Reschiglian
Sergeant................Pietro Audisio

Conductor...............Gennaro Papi

Director................Jules Speck
Set designer............Mario Sala

Il Barbiere di Siviglia received three performances this season.

[In the Lesson Scene Barrientos sang Voci di primavera (Strauss).]

Review (unsigned) in the New York Bulletin

BARBER OF SEVILLE AT OPERA

Mme. Barrientos Sings Leading Role in Rossini Work

Two operas were given their season's first performance at the Metropolitan yesterday. In the afternoon "Die Götterdämmerung" was sung, closing the special afternoon series of "The Ring."

The evening was devoted to a revival of Rossini's delightful and amusing "Barber of Seville." It was the means of presenting Mme. Maria Barrientos in one of her moat attractive and enticing rôles. The Spanish soprano gave a performance of the sprightly Rosins quite unlike that of any other singer locally associated with the part. She possesses a singular personal charm: an appreciation of the amusing episodes that is altogether infectious; enthusiasm that goes hand in hand with youth, and refinement that dominates every act and gesture. To this is added the all important gift of vocal beauty, which, though delicate in texture and outline, she reveals with remarkable brilliancy and considerable effectiveness. Her coloratura could be delivered with a little more spontaneity to its improvement and to the increased enjoyment of her auditors. But spontaneity is not a part of Mme. Barrientos' equipment. However, she sang "Una voce poca fa" with rare taste and impeccable intonation. And in her aria in the lesson scene her bravura work was rewarded with a tremendous show of appreciation.

Mr. De Luca sang Figaro, which was his second impersonation of that nimble, humorous and versatile character. He repeated the excellent impression made as hero in Mozart's "Marriage of Figaro." He realized thoroughly the requirements of the Rossini score and he invested his interpretation with the correct dramatic qualities. The part of Almaviva was sung by Mr. Carpi, whose light and flexible voice did fair justice to the music. Mr. De Segurola as Basilio gave a performance sufficiently amusing and well restrained; and Mr. Malatesta imparted to the rôle of Dr. Bartolo a picturesque presence and an agreeable voice.

Mr. Papi conducted the musicians and singers with good judgment and effect.



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