‘Barber’ hits delightful note
Conductor, producer, cast of production radiate effervescence
There’s an abundance of high spirits in the new San Francisco Opera production of “The Barber of Seville.”
No doubt some of the good feeling at Wednesday’s opening night performance derived from the start of the long holiday weekend. But there was no mistaking the effervescence coming from the stage of the War Memorial Opera House. It radiated across the footlights like the heat of a long day in Spain, where Rossini’s comic masterpiece is set.
Some nights at the opera, everything just clicks.
Sweetly sung and deliciously funny, Wednesday’s performance, the first of five, came together splendidly, with a well-calibrated cast, a zesty orchestral performance under conductor Giuseppe Finzi and a cheerful staging by Emilio Sagi, introduced at the War Memorial in 2013 and directed in this revival by Roy Rallo.
“The Barber of Seville” demands nothing less. With its irresistible flow of arias, duets and ensembles, the composer’s 1816 score is about as close to perfection as you can get.
The current cast delivers ebullient, fully engaged performances. Mezzo-soprano Daniela Mack is especially appealingly as the headstrong Rosina, the young woman who seeks to escape the clutches of her overprotective guardian so she can marry the man she loves. Mack delivered her Act I aria, “Una voce poco fa,” with strength and secure high notes, and she proceeded through the remainder of the evening with a winning combination of intelligence and vocal style.
Tenor René Barbera sang the role of Count Almaviva, who disguises himself as the student Lindoro to win Rosina. Deploying the firm, ringing tone of a true Rossini tenor, he sounded focused in the ensembles and ardent in his serenades; “Se il mio nome” was especially fine. Baritone Lucas Meachem, returning from the 2013 production in the title role, has certainly grown into the character of Figaro, and he brought the affable barber to life with expansive stage presence and a big, robust sound that compensated for his occasional lack of vocal precision.
As Doctor Bartolo, Rosina’s dyspeptic guardian, baritone Allesandro Corbelli approached the ideal, marrying stylish Italianate singing with a wealth of hilarious comic business. Andrea Silvestrelli, towering over Corbelli in their scenes together, was a funny, bigvoiced Don Basilio. Catherine Cook, San Francisco Opera’s Berta since 1996, added another triumph to her list of appearances as Rosina’s guardian. Edward Nelson’s Fiorello, Efrain Solis’ Ambrogio, Matthew Stump’s Officer and Andrew Truett’s Notary capably rounded out the cast.
The San Francisco Opera Chorus sang with gusto, and eight dancers from the company’s ballet corps whirled through Nuria Castejon’s flamenco-inspired choreography.
Holding it all together was Finzi, who drew bright performances from the singers and rich, heady sound from the orchestra. Finzi never forgets that “Barber” is all about love; the conductor maintained a brisk pace but allowed the serenades to linger.