Rossini's "N Barbiere di Siviglia" cannot compare as music, drama or humour with any of the "opera buffe" of Mozart, who raised that particular art form to heights which have not been achieved by any other composer. Nevertheless "Il Barbiere" is undoubtedly one of the finest "opera buffe" ever written by an Italian composer it is certainly the most popular and the work is one which thoroughly deserves its vogue. There is not a dull moment in it, and it sparkles with the vivacity of its genial composer, more interested in making money than creating masterpieces, who is said to have composed the whole opera in thirteen days, and who, when he had had a failure used io send his mother a drawing of a bottle (in Italian ^fasco") and set io work to compute something else.
"IL Barbiere" is undoubtedly a masterpiece, however, no-one who has ever seen it will want to miss the opportunity of seeing it again, and it is my personal intention to be present at each performance given by the local company.
The opera was exceedingly well performed, Mr. Markov was his usual charming self as the love-stricken Count Almaviva, while Mr. Ulianoff had found a perfect medium for his talents as a comedian in the rôle of Bartolo. Miss Sitnikova was a first class Rosina. The Russian opera is fortunate indeed in having secured the services of that rara avis in Shanghaj. a soprano of unusual range who punches each note squarely and surely. She is fully living up to those high expectations which were entertained of her as a result of her appearance in "La Traviata."
Mr. Kudinoff was splendid as Figari It has certainly been his most successful appearance of the season. He should take care, however, not to overact, and specially not to "steal at times when he is not singing. Mr. Shushlin was an ideal Don Basilio, and he received tremendous applause for his rendering of "La calunnia" as did Mr. Kudinoff for his "Largo al factotum.
Incidentally the habit of applauding during the action of an opera matters little in an old-fashioned work Wke the "Barbiere" where there are pauses sufficient length to prevent the music being drowned, but the audience should really learn to abandon this offensive habit altogether. One method of obtaining this result in Europe is by requesting the audience by a notice in the programme to refrain from applause whilst music is playing and until the end of an act or scene, when every opportunity registering i actions.
The smaller parts were well taken
Text read from the printed page and cleaned; old type leaves the occasional error.