However, apart from a plethora of oversized proboscises, and some spectacular hydraulics that lend a farcical feeling of seasickness to the first-act finale, the comedy relies on a cast capable of subtly heightened acting. Shrugging off the revolutionary social subtext, the production’s Fellini-esque visuals jostle with slapstick elements that reflect the opera’s commedia dell’arte roots. T he Royal Opera House’s fifth revival of Moshe Leiser and Patrice Caurier’s 2005 staging of The Barber of Seville sees rising stars rubbing shoulders with veteran performers, conducted with startling vivacity by Venezuelan firecracker Rafael Payare.
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