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Patricia Nolz as Rosina in Barber of Seville at Wiener Staatsoper (Photo: Michael Pöhn)

Herbert Fritsch’s 2021 staging of Rossini’s Il barbiere di Siviglia at the Wiener Staatsoper caused a stink. Literally. Its abstract set consists solely of brightly coloured plastic sheeting and is reportedly a lot of fun. But those plastic sheets began to disintegrate, developing a cheesy smell so pungent that, earlier this year, it had to be abandoned mid-run, hastily replaced by its ancient predecessor for the rest of the season.

When Günther Rennert’s Barbiere, with sets and costumes by Alfred Siercke, premiered in February 1966, only one of tonight’s singers (Bryn Terfel) had yet been born. It has survived for a reason: it’s an absolute classic. Without gimmickry, it simply trusts in Rossini’s music and the cast at this 439th performance had a ball to produce a truly memorable evening.

We see Doctor Bartolo’s house from the street as Count Almaviva (disguised as 'Lindoro') serenades Rosina, who appears on the balcony. But after the first scene, the walls slide away to reveal the interior, after which the action flits between the rooms on three levels. Some characters make their entrances and exits via the pit.

Leading the cast – and having the time of her life – was young Austrian mezzo-soprano Patricia Nolz as Rosina. A former Opera Studio member and now part of the Staatsoper’s ensemble, she created the roles of Zerlina and Cherubino in Barrie Kosky’s celebrated new Don Giovanni and Figaro stagings and is already a house darling. She loves the stage and the stage loves her.  

Nolz is already the complete Rossini package. Her mezzo has luscious caramel richness in its lower register – I’m already imagining her Isabella in L’italiana in Algeri – while she scales the heights with ease. Rapid coloratura, a pert trill and daring ornaments in Una voce poco fa were dispatched deftly and, most importantly, with terrific musicality. Contro un cor, Rosina’s singing lesson aria, sparkled like a glass of Dom Perignon. She can act too, her Rosina skipping around the set, frowning, pouting, teasing. She has a smile to melt the hardest of hearts.

Decades ago, Agnes Baltsa was the reigning Rossini mezzo at the Staatsoper. La Nolz is worthy of that crown.

Patricia Nolz as Rosina and Marco Filippo Romano as Bartolo in Barber of Seville at Wiener Staatsoper (Photo: Michael Pöhn)

Baritone Stefan Astakhov, another young ensemble member, was a happy-go-lucky Figaro, which is exactly as Figaro should be. His Largo al factotum was ebulliently dispatched and he revelled in the comedy. Occasionally he forced top notes too hard, but that could be down to exuberance.

Uruguayan tenor Edgardo Rocha was a stylish Almaviva. His tenor is light and elegant and I particularly liked the way he embellished the second verse of his serenade to Rosina so that it took on a Spanish flamenco urgency.

Fine buffo Marco Filippo Romano blustered his way effectively as Bartolo, rattling off the quickfire patter while remonstrating with Rosina. He formed a wonderful comic duo with Bryn Terfel’s towering Don Basilio. The wily Welshman can steal a scene with a single glance towards the audience, compensating for a voice that now frays at the edges, although his booming end to La calunnia, his lesson in slander, can still shake the rafters. Opera Studio soprano Ana Garotić sang Berta’s little aria very neatly.

In the pit, Marco Armiliato and the orchestra were enjoying themselves too. The overture – played before a dropped curtain, of course – was zippy. Wind solos were witty and, at the start of the storm, violin spiccatos bounced like fat raindrops. In the concertato finale of Act 1, Armiliato somehow managed to coordinate pit and stage, singers spread across three floors, all the while wearing a wide grin on his face. And why not? I can’t remember the last time I enjoyed a Barbiere so much.