A modern interpretation of the Barber of Seville performed by artists of the provincial theater

The modern interpretation, or rather the free interpretation of classical works
, has affected even such a conservative genre as opera.
The perception of the modern barber as presented by the authors of the production captivates with its action,
there is an inner intrigue, but the conflicts on stage are not protracted.
The extras are colorful and motley, the male part in
Elvis Presley pants looks interesting, although it does not carry a special dramatic load.
Figaro is young and dynamic with a good voice and the same flared trousers, harmonious and not lost in the background
her older brothers in the genre, Rosina is cheerful and mobile, stands out for her artistry and desire to soak it up,
does not fit into the canvas of the play, has a strong soprano and looks good from afar along with a trumpet in
the upper left corner of the stage, from which certain attributes very reminiscent of a phallus are periodically put forward,
some hidden subtext is being created, the desire of the creators of this version is felt to amuse the viewer a little, balancing on the edge of what is allowed.At key moments, the main character's underpants periodically fall off, which is a dramatic find that gives a thrill that was not provided for by the author of the work, and does not allow the public to be distracted.
The appearance of the sanitary and epidemiological
service at the end of the last scene brings additional excitement to the hearts of the audience, "they will not take away " is an age-old question.
Throughout all the actions, Don Almaviva is subjected to a lot of transformations and interference from Dr. Bartolo, who treats
exclusively women, which causes genuine interest in his specialty, which apparently did not exist
at the time of the creation of the play. Bertha, the maid, is very impressive, supposedly not indifferent to the colorful Basilio, the doctor's friend.
Passions periodically heat up, there are no pauses where nothing happens, the rhythm of the narrative remains.
All this action has nothing to do with the author's intentions, and did not assume,
that his work will receive such an original embodiment. Brilliant music accompanies all the dramatic collisions
taking place on stage, the artists play and sing with pleasure, apparently they themselves are amused by the situations and events
happening to the characters embodied by them.