Florentine Opera’s ‘Barber’ keeps focus on singing
Musically, theatrically and visually, the Florentine Opera Company production of Rossini’s “The Barber of Seville” is a complete delight.
The production, with stage direction by Florentine general director William Florescu and music direction by Joseph Rescigno, opened Friday evening in Uihlein Hall, serving up delightfully transparent disguises, harmless conniving and finagling, and, of course, true love that wins out just in time for a curtain call.
“Barber,” seen today as the definitive opera buffa, or comic opera, has been a favorite in the opera repertoire since its premiere in 1816.
Steering clear of the overthe-top shenanigans that have become something of a tradition in “Barber” productions, the Florentine relies on fine singing, a strong, animated cast and a constant focus on the relationships and interplay between characters.
The production features a top-notch cast of beautifully matched, technically polished voices, which belong to a group of theatrically savvy singer/actors. Creating engaging, credible characters and playing off one another beautifully, cast members deliver Rossini’s music, complete with its fast, melismatic vocal passages, as though it’s all just great fun.
Spanish-born mezzo-soprano Carol Garcia, making her American debut in the production, creates an utterly charming, vivacious Rosina. She sings with a warm, vibrant sound, executing lightning-fast, coloratura runs with the ease of someone humming a happy tune, all while creating an adorable, dimensional character.
Luis Alejandro Orozco creates a playful, charming, gregarious Figaro, always up to something while singing with power, focus and complete ease.
Taylor Stayton is a delight as Count Almaviva. He dons a complete character with each disguise, sings with a big, pointed sound and exudes energy on stage.
Peter Volpe brings an enormous, controlled voice to the role of Don Basilio, along with facial expressions and a physical presence that speak volumes. Andrew Wilkowske’s Dr. Bartolo is fearlessly funny, and Katrina Thurman brings ringing, facile vocals to Berta. Leroy Davis delivers a captivating, beautifully sung Fiorello.
Thomas Leighton, James Zager and John Stumpff deliver strong supporting work as an officer, Ambrogio, and a notary, respectively.
Peter Dean Beck’s richly detailed, cleverly designed set gives “Barber” a clear feeling of time and place at first glance. Costumes, also full of period details, help define characters and blur identities with comic intent.
The Florentine Opera Company’s production of Rossini’s “The Barber of Seville” will be repeated at 2:30 p.m. Sunday in Uihlein Hall of the Marcus Center for the Performing Arts, 929 N. Water St. For ticket information, visit florentineopera.org or call (414) 273-7206.