The Metropolitan Opera's presentation of Gioachino Rossini's Il Barbiere di Siviglia employed the use of a stage extension that surrounded the orchestra pit. This allowed the actors a larger area in which to move. It also allowed the actors to get closer to the audience. The stage extension made scenes such as when Dr. Bartolo and Don Basilio took a walk to plot against Count Almaviva and Figaro more believable, as though they were strolling in the garden. When the performers were on the extended stage it separated them from the action on the main stage. This gave the production greater depth and added to the enjoyment of the opera. .
Il Barbiere di Siviglia, a fast paced comedy, benefitted from the energy of the performers. Each actor embodied their character and brought it to life, projecting the essence to the audience. Members of the cast played off each other building the overall energy on stage. This was even true of the mute character of the sleepy manservant who the rest of the cast had to step over and around throughout the opera. The timing and movement of the characters contributed to the rapid pace of the story, keeping the audience involved with the action. .
In his role as Figaro, Christopher Maltman was believably the rascally schemer trying to bring the lovers Rosina and Count Almaviva together. His body movements and gestures, as well as his facial expressions fit the character and filled the stage with his lively energy. This gave Lawrence Brownlee a springboard from which to launch his character Count Almaviva's plot to win Rosina's hand in marriage. The object of his affection, played by Isabel Leonard, was the embodiment of the rebellious young woman. Her portrayal of Rosina ran from the tender love struck girl to the angry woman who believes she was betrayed by the conniving duo, Figaro and Count Almaviva. She did this with such grace and naturalness that she won the audience's heart.
