Have you seen or are you planning to see The Barber of Seville? What do you think about the production?
This blog serves as a place to voice your thoughts, ask your questions, and post your reviews of the show. Posting a review enters you into our Weekly Review Competition, with the most insightful review each week receiving two tickets to an opera of choice in 2012.
About this production of The Barber of Seville:
Crusty old Dr Bartolo intends to marry his ward Rosina tomorrow. Young, handsome Almaviva means to beat him to it. With the help of Figaro, the eponymous barber of Seville, he’ll marry her today. This action-packed opera tells of their efforts to dodge Bartolo, woo Rosina and get her married off to Almaviva under Bartolo’s very nose.
Director Elijah Moshinsky and designer Michael Yeargan are responsible for some of Opera Australia’s best loved productions, and this is certainly one of them. First staged in 1995, it is inspired by 1920s Hollywood comedies such as Keystone Cops, Buster Keaton and Laurel and Hardy. Think slapstick stage business, chase scenes and split second comic timing. The larger-than-life action fits perfectly with Rossini’s hectic score and the fast-moving story.
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Unlike the last production of Figaro in Melbourne (disjoint, cramped and confused (what has Gaudi to do with Seville?)), the Moshinsky staging is a delight. The silent movie theme unifies the production and, from Almaviva dressed as Harold Lloyd to the police as the Keystone Cops, works brilliantly. Despite having seen this staging before, I had forgotten many of the little effects and stage business that makes this production so enjoyable. I remembered the Barbie-sized Rosina, but had completely forgotten the miniature Bartolo going into town.
ReplyDeleteJose Carbo as Figaro and Sian Pendry as Rosina were superb, both with their characterisation and their singing. At times the slapstick and stage business distracted from the musicality of the piece, but mostly these touches just added to the comedy. The small cuts were a little mystifying (surely the time saved didn't warrant the removal of the Lindoro-as-agent-of that-vile-seducer-Almaviva subplot, particularly as the numerous references to it remained?). Orchestra Victoria played spiritedly but occasionally overwhelmed the singers (although this is not uncommon in those Rossinian crescendos...). However, overall the production sparkles with its brio and good humour. In short, a fantastic night at the opera!
We were exceptionally fortunate to secure tickets for The Barber of Seville's final performance in Melbourne. With the opening, Moshinsky carried us back to a wonderful scene set in the 1920s translating the romantic atmosphere around the serenade with the setting of a row of houses set behind the tall palm trees with a crescent moon playing the role of a silent observer. The use of marionettes to provide perspective for the scene and the miniature figure of Bartolo running out of the house was quite an unexpected treat. This and the red-and-white striped curtain with all those 1920’s hairstyles combined to a perfect backdrop for the introduction of our hero, Figaro (José Carbó), the canny and crafty barber of Seville and his unforgettable performance of THE aria – Largo al Factotum. Sian Pendry's portrayal of Rosina was breathtaking! She was coy and oh so pliable with Figaro, naive and adorable around Lindaro, and rude and aggressive with her poor guardian Bartolo. The character of Bartolo's doorkeeper, though mute, must be applauded, as much as Berta, the housekeeper of ample proportions. Lindaro, brought to life by John Longmuir, was desperate, passionate and commanding, and that all within a moment’s breath.
ReplyDeleteThe house was beautifully proportioned, with a perfect match between the extravagant wallpapers in each of the rooms and the scenes and characters appearing therein. Contrasting the stage by varying lightning/darkening the different rooms and the use of two spotlights served to guide us along the 'main' story, while never obscuring all the other life stories unfolding at that same time. The portrayal of Lindaro on his bike ride through the storm felt as though we were there with him, flying along the countryside – it was utterly incredible! The music, the backdrop, the performers, and the creative art direction all brought it to life and we could feel the force of the wind and the drenching rain that accompanied it. This story, that can be transplanted into any society and any time frame with the universal themes of greed, passion, and rivalry, all mixed with a vast dose of humour and romance to make it the more human, was marvellously portrayed. Definitely an opera not to be missed!
Alessandra Monerris (samobel@gmail.com)