Review: Pittsburgh Opera fans will be glad to meet this updated 'Barber of Seville'
Pittsburgh Opera unveiled a new production of “The Barber of Seville” on April 2 that proved to be a delight-filled updating of an opera which has not lacked for success in the nearly two centuries of its life. The excellent cast of singers and agile orchestra were led with impressive verve and style by Antony Walker.
“The Barber of Seville” has always been the most popular of Gioachino Rossini's operas. In the past half century, many more of his works have been rediscovered in the theater and on recordings. In addition, critical editions of his scores let us hear his music with more authenticity. Advances in the training of young singers have produced performers superbly prepared to handle Rossini's style.
The new production of “Barber” moves the action from aristocratic Spain to corporate Hollywood around 1950. It was created by stage director Linda Brovsky for a “movie studio” set already purchased by the company. The curtain rises during the overture to show Dr. Bartolo, modeled after Louis B. Meyer, viewing rushes.
Rosina, Bartolo's ward in the original, is now an actress under contract to him. A prominently displayed poster for the 1948 film “The Loves of Carmen” has Rita Hayworth's name removed and replaced by Rosina's. Figaro, nominally a barber, but actually a jack of all trades in the original, is now the hair and makeup artist.
Brovsky's production is filled with amusing to funny cinematic allusions, such as the Harpo Marx wig worn by Don Basilio, and as a disguise by Almaviva in Rosina's music lesson scene. There are added musical jokes, too, such as a very brief quotation from Georges Bizet's opera “Carmen” in a recitative.
The lovers Rosina and Almaviva, still a count in the new production, were attractively portrayed by mezzo-soprano Corrie Stallings and tenor Michele Angelini. Stallings' musical and dramatic assurance in performing Rosina was especially impressive because she was performing the role the first time. She delivered the florid writing in “Una voce poco fa” in Act 1 and in the music lesson in Act 2 with flair, and dramatically negotiated a fine balance between a movie star's ego and the openness of a person in love.
Angelini, making his company debut, excelled in Rossini's athletic writing for voice. His two Serenades to Rosina in Act 1 were tastefully ardent and featured wonderfully open top notes.
Baritone Jonathan Beyer, a returning Resident Artists program alum, embraced the new staging with the flair of a true Figaro. He played to the audience with mostly flawless comedic assurance. Beyer's singing was full of personality, although Walker's fast tempo for the famous “Largo al factotum,” with its “Figaro, Figaro, Figaro” branding, did push Beyer to the limit.
The most successful portrayal on opening night was Kevin Glavin's Bartolo. The basso buffo, making his 45th company appearance since 1985, wore smartly selected suits and a perfect gray wig. His portly appearance and commanding status were reinforced by two English buff dog pets. But it was the colorful and precise singing that most set Glavin's portrayal apart.
Three of the smaller roles were also superbly performed: baritone Brian Vu's Fiorello, Brandon Cedel's Basilio, and Claudia Rosenthal's Berta.
Walker brought a winning blend of energy and attention to detail to the performance. Although his pacing was sometimes too fast, it was too slow at other times, such as near the end of the opera's finale. But he inspired an outstanding performance by Pittsburgh Opera Orchestra. The strings were not only well articulated, but also played with varied colors. The agility of the solo woodwind and horn were the perfect partners with the singers.
Although there were a few moments when this production tried too hard for its humor, overall it was a very enjoyable new angle on a familiar masterpiece. Any movie fan will have fun picking up on Brovsky's delight in film history.
Pittsburgh Opera's production of “The Barber of Seville” will be repeated at 7 p.m. April 5, 7:30 p.m. April 8, and 2 p.m. April 10 at the Benedum Center, Downtown. Admission is $12 to $165. Details: 412-456-6666 or pittsburghopera.org
Mark Kanny is the Tribune-Review's classical music critic. He can be reached at 412-320-7877 or mkanny@tribweb.com.
