Lawrence Brownlee

It is a rare opera indeed that calls for one soprano diva and no fewer than six tenors. Mary Zimmerman’s fanciful production of Rossini’s drama, designed by Richard Hudson and with choreography by Graciela Daniele, provides the perfect setting for superstar Renée Fleming’s captivating performance of the title role. A beautiful but evil sorceress in the times of the Crusades, Armida sets out to regain the love of the Frankish knight Rinaldo (Lawrence Brownlee) by putting her magical spells on him. She at first succeeds to draw him into her web of sorcery, but ultimately divine intervention—and his fellow soldiers—free Rinaldo from his enchantment—much to the vengeful fury of Armida and her demons.

If ever a composer was born to set the enchanting fairy tale of Cinderella to sparkling music it was Rossini. His much put upon heroine Angelina (Elīna Garanča) has to cope not only with nasty stepsisters, but also an over-the-top, farcical father, Don Magnifico (Alessandro Corbelli). And in this version the Prince (Lawrence Brownlee) and his valet (Simone Alberghini) swap identities, which causes no end of delightful confusion. With Cesare Lievi’s delightful storybook production and Maurizio Benini’s expert conducting, it’s all as light and delicious as a marvelous musical soufflé.

A youthful cast brings Rossini’s immortal comedy to sparkling life, led by Christopher Maltman as Figaro, the resourceful barber and man-about-town of the title. The lovely Isabel Leonard is Rosina, the clever young woman at the center of the story, and Lawrence Brownlee sings Count Almaviva, the man who loves her and—with Figaro’s help—rescues her from the house of her elderly and smitten guardian, Bartolo, played by Maurizio Muraro. Paata Burchuladze is the bumbling music master Basilio, and rising conductor and bel canto specialist Michele Mariotti leads the Met’s musical forces in Bartlett Sher’s lively production.