The Barber of Seville

Long before the craze for 'period instruments' and 'authentic performance', this recording proved that a joyous, fleet, lissome and wholly idiomatic spirit could prevail even while utilizing modern instruments, large-scale voices and a resonant recording venue. Varviso deserves central credit,

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because it is around his sharp rhythms and pinpoint articulation that the singers and chorus are able to build their characterizations with point, charm and great good humor. It took me a listening or two to begin to appreciate Ugo Benelli's very light tenor, but now his trenchant Almaviva is the standard by which I judge all rivals. Corena and Ghiaurov are strangely complementary as Bartolo and Basilio; Corena is a little ragged vocally (but only compared with his more youthful self), but his embodiment of pompousness and self-satisfaction is so delightful as to silence any caviling, while Ghiaurov is at his absolute prime sonically, sepulchral and pristine, but might lack the least little grain of impishness that is a part of Basilio's personality. Berganza takes command of every scene in which she appears and never lets the listener down in any way. Ausensi took a drubbing by the critics when the recording appeared and, as far as I know, didn't make many more high-profile operatic records. His voice is very presentable, robust and tonally secure, even though he brings no subtlety to the role of Figaro. The duet 'Dunque Io Son' with Berganza exposes his bluffness painfully in contrast with her exquisite nuance. On the other hand, isn't that the point; doesn't Rosina run rings around all the men in this tale, no matter how cunning they all think they are?

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