The great director Peter Hall, while not ruling out modern settings of classic operas, talked about the appearance of a piece needing to complement the sound of the music. Clearly Herbert Fritsch, who directed and designed the sets for this 2021 production, thinks differently.
His fast-changing abstract colour panels, realised by light designer Carsten Sander, did not fit in with the 18th century rococo costumes of the performers, let alone with Rossini’s bubbling, traditional comedy of aristo-artisan manners. One wonders what costume designer Victoria Behr thought of all that.
The stage direction is no better. I am reviewing this in the pantomime season, and it seems almost as if I have landed by mistake at the local rep, such is the overacting. And if that is not enough, Fritsch introduces a mime artist who irritatingly mimics the action.
It’s all a great pity, for although the singers are willing to go over the top on the orders of the director, the performance is vocally immaculate.
Baritone Etienne Dupuis is a swaggering Figaro, hamming up "Largo al factotum" like a comedian playing the audience, as indeed he plays the affairs of Seville to bring about a happy ending for Count Almaviva and Rosina.
Juan Diego Florez as Almaviva is impressive as always, sounding deliciously sweet from the first notes of "Ecco ridente il Cielo". His casting as a peacenik for the Peace and Joy scene is one of the few moments in the production that works reasonably well.
He is matched by Vasilisa Berzhanskaya’s Rosina, displaying immaculate coloratura technique underpinned by a creamy middle range. Ildar Abdrazakov brings his sumptuous bass to the role of Don Basilio, while Paolo Bordogna is an engaging buffo Bartolo who has to make the best of things in the singing lesson scene. He has to nod off while Almaviva in disguise woos his ward Rosina, but the empty stage means he has to doze standing up.