TEATRO LIRICO'S CLASSIC BARBER A CUT ABOVE
(Boston Massachusetts)

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. As soon as baritone Vladimir Samonov bounded onto the stage as the wily barber, Figaro, all things musical and theatrical began to pull together. 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.  (sold out) -- BOSTON HERALD, T.J. Medrek, January 20, 2005 

TEATRO LIRICO RETURNS TO BOSTON WITH SPARKLING BARBER
(Boston Massachusetts)

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 Vladimir 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 Bartolo. 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 Basilglio,  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 OF SEVILLE SPARKLES AT THE VET
(Providence Rhode Island)

Teatro Lirico D'Europa gave a sparkling rendition of Rossini's Barber of Seville last night at Veteran's Memorial Auditorium, a performance 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 conistent productions that are a cut above the companies that have come here in the past. And it seems over the years to have come up with sexier stage direction. 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