On this warm Parisian evening, Opéra de Paris brought back Damiano Michieletto’s visually striking and brilliantly clever production, and it’s just as dazzling and fun as ever. The set—an imaginative facade of an apartment building with its bustling exterior and chaotic interior—creates the perfect playground for Rossini’s farcical twists and turns. It’s pure theatrical gold, and the audience was right there for every laugh.

In the title role, Mattia Olivieri was an absolute triumph. Charismatic, cheeky, and vocally stunning, his Figaro had all the swagger and vocal finesse you’d hope for. His razor-sharp comedic timing matched with that smooth baritone line proves again why he’s one of today’s standout performers. A few years after his memorable Enrico Ashton in loco, Olivieri continues to shine.

Alongside him, Isabel Leonard was a youthful and spirited Rosina. Her voice sparkled—rich and warm yet playful—and she brought a real sense of agency to the role. It was a Rosina with both charm and character, and Leonard nailed it.

Tenor Levy Sekgapane made for an elegant and effortlessly charismatic Count Almaviva. He blended beautifully with both Leonard and Olivieri, and the chemistry among the trio was palpable. His voice floated with ease, and he had the stamina and grace that the role demands.

Carlo Lepore as Bartolo is simply irresistible. Every movement, every word landed perfectly.

And finally, Luca Pisaroni delivered a show-stopping “La calunnia” as Basilio, rounding out a stellar cast with gravitas and humor.

Underpinning it all was a sparkling performance from the pit. Diego Matheuz kept the pace lively and the textures light, always attentive to the singers and the bubbling spirit of Rossini’s score.

The verdict? A complete triumph. The audience was all in—laughing, applauding, and clearly loving every minute. A full house, a first-rate cast, and Rossini’s genius made for a night to remember.