FRENCH FLAIR ADDS FRESHER FEEL TO CALGARY OPERA’S BARBER OF SEVILLE
The words and the music may be Italian, but Calgary Opera’s new production of Rossini’s The Barber of Seville is all French.
Directed by Montreal-based stage director Alain Gauthier, this witty, charming treatment of the opera is simultaneously updated to the early 20th century and remains rooted in 18th-century ideas of rank and station. The opera comes to the viewer as an operatic Feydeau farce, with exquisite comic timing, quick gags, and a beautiful sense of balance and proportion — a clocklike mechanism, as the director comments in his notes.
The gain for the modern viewer in the approach is considerable, since the clichés of traditional Italian opera can easily wear thin. The comedy — and there is plenty of it — is objectified, distanced, in this approach, the conventional “realism” moved to the background. Paradoxically, this objective element is the key to the projection of the comedy as somehow modern, and the means to engage the stock figures as the universal characters they represent.
For all the fun and games, not to mention several show-stopping arias, the opera presents an unflinching, often unflattering view of the human condition. And nothing here is politically correct. Older men still do flatter themselves that through rank and position they are sexually attractive to young women. And young women have been known to be adept at outwitting the unwelcome advances of older men. And prey tell, do some men still connive and spread gossip? Perhaps. And are some young men just occasionally rather full of themselves? Well, yes, it has been known.
In short, we are all there on stage in this opera, a story told in comic fashion in a classic truelove-overcomes-all-obstacles narrative. And in this opera, it all happens with the help of a barber — Figaro, The Barber of Seville — in this production sung by Canada’s Russell Braun. Braun has just the right voice for the part: strong and resonant, with splendid top notes, firm in the bottom register, and able to deliver the important patter element in the Italian words. Vocally, his is the strongest performance in the production.
Physically suited to the part, he is also a compelling dramatic presence. Dramatically, he is more playful (more French) than how the part is sometimes played, and there is an intelligence in the acting the goes beyond simple stereotype. As the opera’s catalyst, he is in most scenes, and core to the dramatic action — it is all very top notch.
One of the best elements of this production is Peter McGillivary as Dr. Bartoto. McGillivray doesn’t miss a trick, drawing from the role every ounce of comedy, and handling the vocal side with aplomb.
John Tessier is the production’s Count Almaviva, and has, perhaps, the most difficult role in purely vocal terms. It needs a true Rossini tenor — a voice that naturally has both altitude and a certain strength, not to mention considerable facility in rapid passage work. Such singers are scarce, but Edmonton-based Tessier is such a singer. Tessier gives an exceptionally fine account of the music, notably in his opening aria. Dramatically, he also provides many laughs.
Andrea Hill, the production’s Rossini, was recovering from health issues on opening night, and despite the fluent singing and fine vocal tone, she sounded less commanding than she might. But this was still a fine performance, with good rapid singing and commanding top notes. The role is not as inherent comic as some of the others, but Hill nevertheless brought verve and wit to this side of the stage shenanigans. She was very much the equal of the other lead singers.
The secondary roles are well cast, notably Anne-Marie Macintosh, who drew the maximum comic effect from her aria. She was very well received at the curtain call. Geoffrey Schellenberg and Aaron Dimoff, both with experience in the Emerging Artists Program, acquit themselves well, even if Dimoff is a vocally bit outclassed by his more experienced stage mates.
The unitary set, blending Dali and 1930s Paris, works remarkably well, the simple outlines of the set matching the clarity and crispness of the stage direction. The men’s chorus is woven into the action with skill and with virtuoso umbrellas. Much comedy here. All these elements are beautifully balanced and contribute to a sense of this production of The Barber of Seville as fresh and newly minted.
Topher Mokrzewski, no stranger to Alberta, leads the orchestra with vigour and musical engagement. Despite a rather levelsounding overture, the orchestra contributed significantly to the total effect, with a well-crafted storm scene and a good balance with the singers.
There is a production with plenty to enjoy, to amuse, and to induce a laugh. And there is fine singing as well. Even those who have seen the opera before should not give this production a miss: Rossini never lets one down.
Calgary Opera’s The Barber of Seville runs until Nov. 24.