Reviews

ROSSINI'S IL BARBIERE DI SIVIGLIA

Letter from Zoellner Perf. Arts Center – Lehigh University
Bethlehem,PA
July 8, 2008
Dear Jenny,
I wanted to stop for a moment and thank you for your help this past season. The 2007-2008 GUEST ARTIST SERIES was one of the strongest, culturally diverse and artistically innovative seasons that I have been privileged to present. Teatro Lirico D’Europa’s production of the BARBER OF SEVILLE was integral to the overall quality of the season and I greatly appreciate your efforts in bringing that program to Lehigh. Please extend my sincere thanks to the company. The positive feedback that I have received from our audience indicates to me that we are doing something right and I look forward to continuing our valued collaboration for many more successful seasons.
Sincerely,
Deborah Sacarakis
Director of Programs and Outreach

BARBER – Paramount Theatre, Charlottesville, VA – Jan. 2008
It was lovely. I was in NYC but I made sure to get a full report and staff and audience both loved it. Let’s keep on the books for next season.”
Matthew Simon
The Paramount Theater, Charlottesville, VA

BARBER at Husby Perf. Arts Center
Sioux Falls, SD – Feb. 2008
“Good morning Jenny,
The performance of Barber of Seville was quite nice.  The voices, especially the American voices, were very strong.  The orchestra was great and the audience had a marvelous time.
Thanks so much!”
Audra K. Fullerton, Husby Performing Arts Center

BARBER in Bethlehem, PA – Nov. 2007
“Jenny - Thank you very much for facilitating the engagement of Teatro Lirico at Lehigh University. The production of "Barber of Seville" was wonderful.  The quality of the singers was exceptionally fine.  I particularly enjoyed the performances of James Bobick, Viara Zhelezova and certainly Mikhail Kolelishvili.  In addition to having remarkable vocal instruments they also brought well-developed acting talent to the stage.  That's a very happy combination in any opera performance.  I would also like to comment on Martin Mazik, whose skill and talent as a
musician and a leader of the ensembles solidly founded and moved the production.  The audience was pleased and happy.”
Deborah Sakarakis Zollener Perf. Arts Center, Bethlehem, PA

BARBER OF SEVILLE in SPRINGFIELD, MO – Nov. 2007
“The show was wonderful, Jenny…we were all quite pleased with the production…and especially liked your new Figaro!  We really enjoyed the performance…lots of good voices, nice acting and a real spirit of fun in the show. The audience response, both during the performance and at the end, was enthusiastic. And Anjie said Giorgio’s master class was great! …she said it was really fun to watch him work with the students. Looking forward to next season…hope your holidays are wonderful.”
Deb Gallion
Director of Marketing and Promotions
Juanita K. Hammons Hall for the Performing Arts
Missouri State University, Springfield, MO

Opera's hits keep coming in 'Barber'
"The international mix worked fine on Thursday night at Proctor's Theatre in Schenectady where the Teatro Lirico D'Europa presented Rossini's classic comedy "The Barber of Seville." The opera's most famous music and the best performance of the night came early on with "Largo al factotum," a tour de force aria overstuffed with running melodic lines and mouthfuls of words. Its la-la-la's and Figaro-Figaro Figaro's are a quintessential bit of opera, lampooned almost as often as a soprano in horns.

Baritone Vladmir Samsonov as Figaro belted out the proudlyself-referential number with stunning accuracy and captivating bravado. As Samsonov's square and sturdy frame faced center stage, it was hard not to stare in amazement as his tongue bounced up and down within his huge opened mouth. Throughout the night each of the principal singers seemed to go for broke. That may be the only way to take on "Barber of Seville" since its music often spins and rattles as fast as a roulette wheel. By the end of the night, everybody was a winner. Tenor Benjamin Brecher as Count Almaviva had a more lyrical bent and made a nice contrast to Samsonov. The difference in their characters andstyles was highlighted during a first act duet in which Almaviva floats along melody about love, while Figaro counts out imaginary money. There were lots of other ensemble bits that also succeeded. Sometimes it
was on a dramatic level, like near the end of act two, when all five principals crowded around a military captain trying to whisper in his ears at the same time. More often, it was the music that spoke, like during a lovely trio in act three. Soprano Viara Zhelezova played Rosina with girlish charm but sang the role with a mature and burnished voice. During her opening aria, it was as if the sound poured out of her whole body before filling the large house. The bass Viacheslav Pochapsky had a booming voice and looked like he stepped out of a "Monty Python" skit, with a boat-like hat and crazy gray hair. Baritone Hristo Sarafov, as Dr. Bartolo, was also good with physical humor as he got a shave from a distracted Figaro, the titular
barber. The crowd: about 1,100 adults of all ages was attentive and appreciative."
ALBANY TIMES UNION - Joseph Dalton - April 2006

Figaro, Figaro, Bravo!
"Daytona Beach Symphony Society ended up its season in the best way possible---with plenty of sincere applause, and delighted smiles everywhere. The reason was the nearly flawless Teatro Lirico D'Europa performance of THE BARBER OF SEVILLE. From the overture's happy notes, played by an orchestra that filled the pit and spilled over onto the sides of the stage, to the giddy, romantic resolution, the BARBER OF SEVILLE was absolutely funny, lively and high spirited. As Rosina, Viara Zhelezova was perky and passionate, and in possession of a powerful, rich mezzo soprano that fit perfectly with the warm, clear tenor of Benjamin Brecher, an unusually charismatic Count Almaviva. Baritone Hristo Sarafov was entertainingly foppish as Dr. Bartolo and Viacheslav Pochapsky, playing the venal Don Basilio, stunned with his booming bass. Most impressive however was the opera's central character, as Figaro, the barber of Seville, Shon Sims was remarkable. It wasn't simply his strong resonant baritone, his acting skills and witty interpretation of the role were superb. Sims Figaro stood in the middle of all the action. Besides its atmospheric sets and lighting, what set Friday's performance apart was how the music was presented; with enormous verve and real joy; by outstanding singers who were also accomplished actors."
DAYTONA BEACH NEWS-JOURNAL - Laura Stewart - March 2006

THE BARBER OF SEVILLE
"The best you can hope for is an opera without "singers." Give me a single well-oiled "machine" any day, not a bunch of singers who interact as if by accident.  When individual singers disappear so deeply into their roles that there's no separating them from the scene they're building, THEN you've got opera! That happy circumstance existed Monday night with scintillating results in Rossini's comic BARBER OF SEVILLE at Eissey Campus Theatre. Monday night's cast worked with the precision and solidarity of a surgical team.

The cast list explained a lot. Soloists of Teatro Lirico D'Europa. The production felt as comfortable as an old shoe. There was such agreement among soloists and fine musical grasp of the music that their detailed, vivid characterizations went well, beyond acting. Figaro's famous aria won a full minute of applause but the consistently superior performances were from Sarafov (Barolo) and Zhelezova (Rosina). Every time the mezzo opened her mouth, lovely sound flooded the hall. She is not only up to Rossina's technical demands, she retained her luminous high notes and vocal control all evening. In her mannerisms she was every inch the rebellious hot tempered Spanish girl." PALM BEACH POST - Sharon McDaniel - January 2006

"Opera was also a hotly contested area. Paradoxically the strongest entries came from outside the city's two principal resident opera companies. Boston Baroque's AGRIPPINA was the clear winner. Teatro Lirico D'Europa offered a well-sung production of Rossini's THE BARBER OF SEVILLE that for once was as funny as the piece is supposed to be." BOSTON GLOBE - Richard Dyer - December 25, 2005

Teatro Lirico's BARBER brings a barrel of laughs
"Rossini's THE BARBER OF SEVILLE is a comedy so expertly carpentered that it can still make an audience laugh 189 years after its premier. It did so again last night at the Majestic Theatre, thanks to Teatro Lirico D'Europa. It's fun to hear accomplished singers leap over the vocal hurdles and watch them put their personal stamp on the famous comic scenes. Director Giorgio Lalov knows how to put all the traditional gags across, but also contributes some new ones of his own and lets the singers do what works for them. Benjamin Brecher as the Count is a witty and engaging actor and can actually sing rapid passagework that many other tenors smear. Shon Sims in the title role turned in some nimble vocalism and acting. He also played the guitar well enough to accompany Brecher in his serenade. Hristo Saraov offered a Dr. Bartolo whose dithering self-delusions because touching as well as amusing. The best singer was Viara Zhelezova, the Rosina. She has a lovely limber mezzo that she can move at warp speed, like Cecilia Bartoli. She's charming and musical. Conductor Martin Mazik is very young and quite talented. There were many lively and elegant musical details. Constantine Videv as the venal music Master Don Basilo paid tribute to the audience by sporting a pair of bright red sox." Richard Dyer - BOSTON GLOBE - October 2005

TEATRO LIRICO'S IL BARBIERE DI SIVIGLIA - -
A ROLLICKING GOOD TIME WAS HAD BY ALL AT BOSTON'S MAJESTIC
"Teatro Lirico D'Europa has delivered yet again, for Boston audiences, an entertaining evening of quality opera that is colorful, well sung and acted, and as professional as you will likely see anywhere else, here or abroad. Teatro gave Boston a delightful production and what a show it turned out to be. The production took off and soared and drew the audience into the fun of what was occurring on stage. Everyone seemed to have a rollicking good time. Here, the ensemble cast seemed to genuinely enjoy the lighthearted opera that took Rossini only nineteen days to complete. What impressed most, however, was the fit between major roles and how well those roles were handled. The fusion of character to singer, singer to ensemble was smooth and natural and when accompanied by a supportive orchestra, as was done here, under the leadership of Martin Mazik, the performance was made thoroughly enjoyable on multiple levels. Credit has to go to Giorgio Lalov, for his adept stage direction. Fun! The characters here were so uniformly good and balanced in their presentations that it is impossible to single out any one; so rather than do that we just mention what struck us most about each. First, American baritone Shon Sims' character Figaro was handled to near perfection both vocally and as an actor. Mr. Sims was like the proverbial VISA Gold card - everywhere you wanted him to be, and then some - arranging meetings between the hopeful Count Almaviva, sung amusingly by tenor Benjamin Brecher, and the lovely Rosina, sung sweetly by mezzo-soprano Viara Zhelezova. Sims' stage style is fluid and easygoing and his baritone is a perfect match. Never stressed, right in range, and capable of navigating the sixteenths, which is no small achievement for a male singer. Bravo! Baritone Hristo Sarafov gave us a deliciously lustful, wonderfully sung and superbly acted, Dr. Bartolo. When he was on stage he was a force to reckon with - in all the best ways. Very well done and a great voice to boot. American tenor, Benjamin Brecher's Almaviva simply cracked me up, especially as he donned various disguises to get closer to his main interest, Rosina. Not only did this tenor render a superb bel canto performance last night, but he showed us he was capable of laughing at himself and making us laugh while still managing to "sing" and project forcefully. Great job! The role of Don Basilio, the real music master, was sung impressively by basso Constantine Dinev. It's nice to hear the bass voice used as Rossini scored it here - given a meaty part to sing and part to match. Mr. Videv's bass is rich and capable, smooth and balanced and sufficiently basso cantante, not buffo, that we wanted to actually hear more. Well done. We leave mezzo-soprano Viara Zhelezova for last, because she was first in the hearts of the audience, singing the role of the much sought after Rosina. Ms. Zhelezova's voice is like the dawn is to darkness. It arrives and makes its presence known in the subtlest of ways so that when she sings, the sound arrives and announces itself present, and from there, pure artistry flows - as it did last night. The technical requirements of the vocal instrument for Rossini works is found in the way Rossini wrote his arias. They are precise and require fluidness and considerable flexibility and vocal control. Last night Ms. Zhelezova demonstrated her artistry in a performance that was in total control and thus a joy to behold. Brava for a job well done. As noted this was a fine ensemble cast all around. Kudos go out to Ana Petrova (Berta), Vladi Hristov (Fiorello), and Georgio Dinef (Ambrogio) for their supportive efforts and for making this presentation such a success. On the production side the sets and costumes by Valentin Topencharov were traditional, colorful and realistic, The lighting by Boyukliev was handled well and nicely creative lending to the overall effect of the performance and mood. In sum, Teatro Lirico d'Europa brought home the bacon once again for Boston audiences with a production of Rossini's "Il Barbiere de Siviglia" that was top notch, colorful, well sung, superbly acted and produced with an eye toward the effect it had on an appreciative audience. What more can one ask for?" OPERAONLINE.US - Paul Walkowski - October 2005

REVIEW - BARBIERE DI SIVIGLIA - Escondido, CA
"On Sunday afternoon, October 16, 2005, Teatro Lirico d'Europa presented Gioacchino Rossini's comedy, Il Barbiere di Siviglia, at the California Center for the Arts in Escondido. The production by company artistic director Giorgio Lalov told the Beaumarchais story in a straight forward manner and kept the plot flowing with pertinent action. Valentin Topencharov designed the solid looking sets and colorful eighteenth century Spanish costumes, while the effective atmospheric lighting was the work of Gueorgui Boyukliev. Figaro was portrayed by the rich voiced Shon Sims who moved purposefully and sang with stylistic command..As Rosina, the sultry voiced Viara Zhelezova was a coquette with an attitude. From the very beginning she let you know that she was a passionate but down-to-earth young woman who did not intend to marry a man she did not love. New York City Opera tenor Benjamin Brecher was a handsome, golden toned Lindoro who tackled the high tessitura of his role with ease. Bulgarian baritone, Hristo Sarafov, was a bumbling, comically stodgy Dr. Bartolo, but his singing was always robust and accurate. He is a very valuable artist because he sings many roles well and his acting is always believable. Martin Mazik, conductor, kept the music of this opera moving smartly. The orchestral sonorities were all in order and the coordination between stage and pit was excellent. "
OPERA JAPONICA - Maria Nockin - October 2005

Comedy tonight! Teatro Lirico's Rossini and Strauss
"Teatro Lirico d'Europa, the irresistible touring company from Bulgaria, returned to the Majestic for two familiar works in traditional style.
Last January, Teatro Lirico provided one of the year's best opera experiences, a single performance of Rossini's beloved Barbiere di Siviglia, his musical version of Beaumarchais's play about how the barber Figaro-Seville's handiest handyman-helps the Count Almaviva woo and win the enchanting Rosina from under the watchful eye of her foolish old guardian, Dr. Bartolo, who wants her for himself. It's one of opera's most delicious scores, including the tingling overture and perhaps the most famous moment in all opera, Figaro's entrance aria, the "Largo al factotum" ("Figaro! Figaro!"). "For abundance of ideas, for comic verve, and for truth of declamation," Verdi wrote, "-the most beautiful opera buffa in existence."

What impressed me most was the extraordinary sense of ensemble. That's what happens when a group of performers play together night after night-or should happen. And these singers are full of play. The shtiks and routines seem anything but routine, as if the performers were living through these events for the very first time. This is obviously the spirit that artistic director and stage director Giorgio Lalov seems to inspire. This season's new Figaro, American baritone Shon Sims delivered directly to the audience his rapid-fire patter in the "Largo" with tip-of-the-tongue fluency. For a moment I thought he was too full of himself. Last year's Figaro was more appropriately beleaguered by the overwhelming demands on his talent ("Figaro here! Figaro there! Figaro up! Figaro down!"). But Sims soon made Figaro's inventiveness, and impatience with others' foolishness, part of a rounded characterization. You were always on his side. An Alec Baldwin look-alike, he's younger and better-looking than most Figaros, with an attractive ringing tone to match.

Also new to Boston was American tenor Benjamin Brecher, from the New York City Opera, who-as the amorous Count Almaviva-seems at ease in both slapstick comedy (Almaviva disguises himself both as a drunken soldier and a simpering music teacher) and matinee-idol lyricism. The other newcomer was Bulgarian bass Constantine Videv as the scandal-mongering music teacher Don Basilio, who sang the great "Calumny" aria with cavernous torture-chamber resonance.

The others were as good as ever. Bulgarian mezzo Viara Zhelezova's lustrous voice is as mobile as her face, not just singing the brilliant roulades of her own big introductory aria ("Una voce poco fa"), but filling each run and trill with character and innuendo ("I'm docile, obedient, I can be guided, BUT!... cross me, and I'm a viper!"). Bulgarian baritone Hristo Sarafov was once again a Bartolo who's as touching as he's buffoonish. In the small role of Berta the Housekeeper, mezzo Ana Petrova used her rich voice to delightful effect.

One of Rossini's targets is opera itself. The lovers don't elope in time because, over Figaro's protests, they must sing a love duet. Lalov's presentational style-characters addressing the audience directly or in teasing asides-is exactly right! A major improvement was young conductor Martin Mazik, who led rather than followed the singers. This time the orchestra seemed like one of the characters: exploding and whispering, teasing and tickling, leering and caressing.

Mazik's lilting conducting and Zhelezova's luscious singing (as the androgynous Count Orlovsky) were two of the best things about Johann Strauss's Die Fledermaus from Czech Opera Prague. It was good to hear a Strauss operetta in German, instead of the singsong rhyming in English that Americans usually get. The style was very broad, but amusing. The chorus was outstanding, especially in the heartfelt "Du und Du" Waltz and the three solid sets were elegant. Lovely not to have to wait till New Year's Eve to hear that endless flow of memorable melodies."
BOSTON PHOENIX - Lloyd Schwartz - October 2005

BARBER OF SEVILLE delights Audience!
"THE BARBER OF SEVILLE was presented by Teatro Lirico D'Europa on Friday, Feb. 18 at the Blanche M. Touhill Performing Arts center at UM-St. Louis. The company was in fine voice and full comic form, and the performance delighted the packed house. The opera singers were excellent. When baritone Vladimir Samsonov took the stage in the title role of FIGARO and performed that famous "Figaro, Figaro" aria with booming bravura and comic vocal flourishes, the audience response was so overwhelming and the applause so thunderous and sustained that the star was compelled to quiet the audience just so the opera could continue. It was a very good start to an artistically excellent performance by the whole troupe."
THE CURRENT - Catherine Marquis-Homeyer - February 2005

BARBER OF SEVILLE Sparkles at the Vet!
"Teatro Lirico D'Europa gave a sparkling rendition of Rossini's Barber of Seville last night at Veteran's Memorial Auditorium with some funny touches and dazzling vocal pyrotechnics. This was especially true of soprano Viara Zhelezova, the feisty Rosina whose ornate fioratura passages were thrilling. Teatro Lirico has been known for consistent productions that are a cut above the companies that have come here in the past. Last night's BARBER was not only well sung, but well acted, with handsome singers who moved well on the set. Vladimir Samsonov was a hoot as Figaro. The staging was lively and imaginative."
PROVIDENCE JOURNAL - Channing Gray - February 2005

Teatro Lirico's Classical Barber a Cut Above!
"The little touring company that could began its annual, much - anticipated visit to town Thursday night at the Cutler Majestic Theatre with a solid engaging performance of Rossini's comedy THE BARBER OF SEVILLE. Baritone Vladimir Samsonov's Figaro was generous of personality and winningly sturdy of voice. Bernardini relaxed into a fine performance (Almaviva) as his voice gained in beauty and suppleness. Zhelezova's supple, finely modulated, silky smooth sound caressed the ear, and her portrayal of the feisty young woman (Rosina) was spot on. And Sarafov was the kind of Bartolo who really sings instead of bluffing his way through the part. As ever with Lalov, the company's artistic director, this was truly a production of Rossini's opera, not a director's idea of what that opera should be."
BOSTON HERALD - T.J. Medrek - January 2005

Teatro Lirico Returns to Boston with Sparkling Barber!
"It's official. Boston really loves Teatro Lirico D'Europa. The Cutler Majestic was at near capacity for the single performance of Rossini's IL BARBIERE DI SIVIGLIA. Rossini demands phenomenal vocal and verbal dexterity from the entire ensemble - and great comic timing. Those were exactly what Teatro Lirico brought. It may have been the best production of this familiar opera I've ever seen. This was very much a cast-centered enterprise. Artistic director Giorgio Lalov is a conventional, ungimmicky stage director--but there was always a point. The audience was laughing at all the jokes because the action was always clear and followable. Here was a perfect example of a cast working together. Each character related to each of the others. They knew each other and felt comfortable with each other. And they were all good! Figaro was the engaging young Russian baritone Samsonov, who has sung with the Bolshoi Opera and Marinsky Theatre. He was truly the center of this production, commanding the stage with his wit and charm. His Italian diction was first rate and he has a refined and ringing tone--burnished copper. He used his voice to bravura effect. Rosina was Bulgarian mezzo-soprano Viara Zhelezova. Zhelezova, with her long dark hair and sly smile, is more like a Bulgarian Julia Louis-Dreyfus, with equally impeccable comic timing, who has the luminous voice and dazzling coloratura of Cecilia Bartoli. I don't know why she is not a major star. Almaviva was American tenor Don Bernardini. His strong, focused tone became an impressive instrument and he too used his body to comic effect. Senior Bulgarian baritone, Hristo Sarafov must have played the frustrated Dr. Bartolo his entire professional life. He was a model of good technique and appropriate buffo style. In the role of Don Basilio, sonorous Russian bass Viacheslav Pochapsky, Teatro Lirico's profoundly moving Boris Godounov 2 years ago, was hilarious. The singers maintained a lively pace, and there was never a dull moment. The sets--a Sevillian street scene and the interior of Bartolo's house were attractively cartoonish. Too bad there was only one performance."
BOSTON PHOENIX - Lloyd Schwartz - January 2005

BARBER is a Gem!
"Teatro Lirico D'Europa's production of BARBER OF SEVILLE is a wonderful, bawdy romp through one of the world's favorite operas. PCA Performances is to be thanked for bringing this lively lyrical performance to Merrill Auditorium. The comedic action is first rate with a lot of laugh out loud action. Don Basilio as sung by bass Viacheslav Pochapsky is one of the jewels of the production with a wonderful bass voice and sense of humor just as deep. Hristo Sarafov is an ideal Bartolo. Vladimir Samsonov has the voice and energy to bring the barber alive. Viara Zhelezova plays the vivacious Rosina as if born to the part."
PORTLAND PRESS HERALD - Christopher Hyde - March 2005