A golden Sussex evening provided an idyllic prelude to a vivacious revival of Annabel Arden’s Il barbiere di Siviglia. Even before the first note sounded, the heady combination of sunshine, wine, and immaculate lawns had already transported the audience to a sunnier clime.

That sense of escapism was sustained inside the theatre. Joanna Parker’s visually arresting set design—an imaginative fusion of oversized Moorish tiles and a stylised bird motif—created an evocative, timeless space, subtly echoing Rosina’s yearning for freedom. Arden’s staging, originally premiered in 2016, remains remarkably fresh; its witty energy intensified by a youthful, physically expressive cast and inventive movement direction from Toby Sedgwick and Maxime Nourissat.

Rossini’s Il barbiere demands a particular alchemy of wit, precision, and cheerfulness. In this revival, that balance was masterfully achieved. Conductor Rory Macdonald led the London Philharmonic Orchestra with crisp clarity and unflagging verve. His interpretation brought out the sparkle in Rossini’s writing, guiding the ensemble with an assured hand and a keen ear for rhythmic nuance.

As Figaro, Germán Olvera dominated the stage with irrepressible charisma. His opening “Largo al factotum” was delivered with vocal agility and theatrical verve, establishing a dynamic presence that carried through the evening. His ability to combine buffo bravura with moments of lyrical refinement—even accompanying Almaviva’s serenade on guitar with flamenco flair—was a particular highlight.

Tenor Jonah Hoskins was a suitably youthful Almaviva, charming if initially light of tone, his voice gaining confidence and colour as the performance progressed. Cecilia Molinari’s Rosina was a compelling presence—her darker-hued mezzo added richness to the role, while her coloratura was precise and expressive. The music lesson scene, imaginatively staged and immaculately sung, stood out as one of the evening’s highlights.

Fabio Capitanucci brought a touch of pathos as well as buffoonery to Doctor Bartolo, his patter delivered with admirable clarity, though occasionally obscured by the orchestra. Alessio Cacciamani sang Don Basilio’s “La calunnia” with gusto and vocal weight, while Ailish Tynan, as Berta, transformed her aria di sorbetto into a comic tour de force, earning one of the night’s most enthusiastic ovations.

The production’s visual humour and brisk pacing kept the farce buoyant throughout. Arden’s direction never allowed the action to drag—no small achievement in such a frequently performed work. The Act I finale, with its escalating confusion and ingenious staging (culminating in a brilliantly absurd tableau that saw a harpsichord meet a dramatic end), was executed with exacting comic precision.

Over two centuries since its premiere, Il barbiere di Siviglia continues to captivate, and in this lively and musically assured revival, its enduring appeal and brilliance was reaffirmed. The characters first brought to life by Beaumarchais in 1775 remain as vivid and seductive as ever. Arden’s production balances irreverence with respect for the score, and under Macdonald’s direction, it feels as fresh, funny, and finely crafted as ever.

Remaining performances: 

14, 18, 21, 27 June

3 July

For tickets, please visit: https://www.glyndebourne.com/