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First, one word of warning - Who does not like praise, preferred not read this post. The Barber of Seville, whom I had seen a few days ago at the Royal Opera House in London twice, in fact much more than praise can not write and do not believe bánh su kem I ever have in my life seen a better production of the most popular comic opera.
Let's start Orchestra and its chief conductor Antonio Pappano, who directed the performance. Maestro had the original idea for each number, and possibly for each beat and obviously put a lot of work and reconsider this whole routine edge opera. He sacrificed perhaps a little spontaneity, but it let stand Rossini imaginative musical humor and clearly bánh su kem point to the often neglected onomatopoeia. The orchestra played only music, but also as a light breeze quietly crept in Basilio's aria about slander, cursed and threatened with Bartolo, sighing with the central pair and so on. I could hardly believe my ears, with both rich dynamics can play as mass hysteria in the ensemble Mi par d'esser was initially very subtle (the STE I heard it play quietly), but gradually grew and grew until it sounded bánh su kem almost unbearable. As if the first one I climbed ant, then the second, third, and eventually I could not manage to crashing. Tempa was chosen bánh su kem with good taste and rapidly alternated, bánh su kem especially in the scenes where Almaviva and Rosina ostensibly casually said something out loud Bartoli and anything bánh su kem else quickly whispered to each other, or every man for himself, thus in
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