In common with most Londoners, I’ve always liked the idea of having the English National Opera within easy reach, even if, like St Paul’s Cathedral and the V&A, I’ve never exactly been a frequent visitor.
Now that we are about to lose the ENO in the capital forever – with its forthcoming move to Manchester – I find I am cherishing its productions and The Barber of Seville, with its vibrant music and wonderfully over-the-top story, is as good an argument as any why we should value this great institution.
The late Jonathan Miller’s production of Rossini’s classic was first staged by the ENO in 1987 and it remains every bit as much fun in the hands of Peter Relton with the wonderful lightness of touch of Amanda Holden and Anthony Holden’s translation. Set in eighteenth century Seville, the story focuses on the attempts of Count Almaviva (Innocent Masuku) to prise the lovely Rosina (Anna Devin) away from her dreary guardian Dr Bartolo (Simon Bailey) with the help of his barber Figaro (Charles Rice).
At three hours long, it’s not for any fair-weather friends of opera, but the music in the hands of conductor Roderick Cox is, of course, sublime and my advice to all my fellow Londoners is to enjoy the ENO while you still can.
The Barber of Seville runs at English National Opera in London until February 29
Most popular
Reform shamed by their sick attempt to weaponise Magdeburg
Reform’s new star signings already at odds
Campaigner Carole out of the the door at the Observer
Starmer has reached the moment of truth on Europe
