By Ron Simpson
Giles Havergal’s production of Rossini’s The Barber of Seville is, astonishingly, nearly 30 years old, but in its latest revival shows no sign of the onset of age.
This is partly because of Opera North’s willingness to cast young singers in lead roles and partly because of the essential sturdiness and inventive detail of the production.
The production takes no liberties with characterisation or incident in a plot typical of 19th century comic opera – an ageing buffoon’s wish to marry his highly unwilling ward is thwarted by the young nobleman who loves her and resorts to trickery and disguise to win her. The added ingredient is, of course, the barber himself, Figaro, master of dirty tricks and cunning plans.
Russell Craig sets the action on a teetering multi-level set of Doctor Bartolo’s house, ideal for creating opportunities for eavesdropping or, conversely, failing to hear or see.
In an amusing conceit the performers are part of a large troupe who listen, applaud, move furniture, sing the choruses, take the small parts and work the wind machine and thunder sheet during the storm!
Gavan Ring’s Figaro is the always mobile centre of the action. Coming on like George Cole’s Flash Harry togged up for a bullfight and he introduces himself with typical brio in “Largo al Factotum”, with two lively little lads to share the business.
His flexible baritone and natural sense of comedy are a delight throughout and in his various disguises he gets to wear some of the dafter of Craig’s colourful costumes.
Katie Bray’s expressive and very funny Rosina is equally outstanding. Handling Rossini’s coloratura with ease and a beautifully even tone, she brings character (a very feisty one) to even the most testing music. As her lover Count Almaviva, Nicholas Watts, faced with the notorious demands of Rossini’s writing for tenor, takes time to establish his character, but relaxes into the part with his first disguise and joins Ring and Bray as a fine trio of plotters.
Eric Roberts is a master of timing and physical comedy and understands the buffo style thoroughly, so his Doctor Bartolo is perfectly judged and full of comic detail, if a little worn vocally. Alastair Miles, by contrast, misses the oleaginous side of Don Basilio, the music master, but delights in the parodic deployment of his cavernous bass, more usually heard in Wagner! As Berta the housekeeper Victoria Sharp makes much of a small part, shining in the ensembles and putting over her aria with knowing wit.
Stuart Stratford conducts a stylish performance, with superb contributions from woodwind and John Querns’ fortepiano continuo. He tends to restraint, as indeed does the whole production despite its wealth of invention.
It might be even more fun if let off the leash!
The Barber of Seville will be at Leeds Grand Theatre at 7.15pm on October 17, 23, 27 and 29 October and at The Lowry, Salford Quays, on November 10 and 12.
