| Date and venue | Title |
|---|---|
| 25-Feb-2013 The London Coliseum | Outstanding Rossini singing from Lucy Crowe in ENO's Barber of Seville |
 Scott Rylanderx.jpg) In the celebratedly short time in which Rossini wrote The Barber of Seville, he got into a time capsule and took a short trip to twenty-first century London; on his return to 1816 Rome, he wrote the part of Rosina for Lucy Crowe's voice. Or at least, that's what it felt like at ENO last night, as Crowe turned in a performance which outstrips my ability to find superlatives.
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| 13-Nov-2012 The Haverford School: Centennial Hall | AVA's frothy Barber a showcase for rising stars |
 Never has the expression “A good time was had by all” been more accurate than at Tuesday night’s performance Il Barbiere di Siviglia at Centennial Hall in Haverford, Pennsylvania. Almost from the moment the overture concluded (and what a splendid overture it was!), chuckles and chortles and belly-laughs erupted from the audience because of the onstage antics of the resident artists of the Academy of Vocal Arts (AVA), a premier opera training academy based in Philadelphia.
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| 15-Jun-2012 St George's Bristol | Opera Project's The Barber of Seville in Bristol |
| A classic opera, Rossini’s The Barber of Seville was displayed in a new light by Opera Project this Friday. The easygoing plot of this 19th-century rom-com never tires when given a fresh edge, despite being so frequently performed. Taken out of the context of an opera house and downscaled, this Barber of Seville came to life in an intimate setting with some new words. The production featured a witty and original translation by founder, director and designer Richard Studer, ending with the line “It’s all turned out alright”. Indeed it did. Read full review... | |
| 9-Mar-2012 Citi Performing Arts Center, Shubert Theater | Boston Lyric Opera offers an irresistible Barber of Seville |
 Boston Lyric Opera's production of The Barber of Seville looks, sounds and feels like a storybook come to life. Wildly improbable and completely over the top, the story recounts the antics of Count Almaviva and his quest to win the love of Rosina, freeing her from her vile guardian in the process. If not for Rossini's delicious score, The Barber of Seville would be the operatic equivalent of a basket of brightly-colored rubber balls dropped from the flyspace. Instead, it is a ridiculous romp that's as musically gratifying as it is just plain fun.
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