Opera Review: THE BARBER OF SEVILLE (LA Opera)

LA OPERA’S THE BARBER OF SEVILLE
MORE THAN MAKES THE CUT

In the world of opera, few works shine as brightly and endure as enduringly as Gioachino Rossini’s comic 1816 masterpiece, The Barber of Seville. The Barbiere di Siviglia score is a marvel of musical composition. Its lively and effervescent melodies, intricate vocal lines, and rapid-fire arias are a testament to Rossini’s genius as a composer. The music is both emotionally evocative and irresistibly catchy. The opera’s plot (based on a play by Pierre Beaumarchais) is a masterclass in farce and situational comedy. The clever manipulation of mistaken identities, disguises, and clever stratagems adds layers of complexity and amusement to the storyline. The opera takes you on a rollercoaster of comedic twists and turns, keeping you engaged and entertained from start to finish.

Edgardo Rocha as Almaviva

Helmed by Broadway director and choreographer Rob Ashford (Promises, Promises, How To Succeed…), the charm and vitality of Rossini’s beloved opera (originally created for Chicago Lyric Opera) were brought to life with a Broadway musical flair, resulting in a whimsical triumph that had the LA Opera audience cheering and laughing.

Paolo Bordogna as Dr. Bartolo and Luca Pisaroni as Don Basilio

The creative team of Broadway pros masterfully encapsulated the warmth of the Spanish setting, conjuring the archetypal architecture one might encounter on a sojourn through Seville. Scott Pask‘s elegant set featured a series of stone archways adorned with intricately carved wooden doors and iron lattices, silhouetted between stately columns. A revolving stage deftly metamorphosed the same set pieces into outdoor and indoor scenes, each transition revealing captivating new elements. Pask’s expansive design allowed Howard Harrison‘s lighting to paint the backdrop with the soft hues of a sunrise, the golden radiance of southern European daylight, and the tempestuous theatrics of a flashing thunderstorm. The vibrant and meticulously designed costumes by Catherine Zuber added an additional layer of authenticity, elevating the characters and enhancing the overall visual aesthetic.

Joshua Hopkins as Figaro, Isabel Leonard as Rosina and Edgardo Rocha as Almaviva

Ashford’s directorial prowess truly shone throughout the performance. Renowned for his ability to seamlessly blend classical elements with contemporary sensibilities, Ashford skillfully navigated the intricate balance between honoring the opera’s rich heritage and infusing it with fresh, modern energy. His astute grasp of character dynamics and the nuances of comedic timing left the audience in fits of laughter with each meticulously choreographed moment.

Louis Lohraseb conducts

From the moment the orchestra’s overture began, a subtle sophistication pervaded the performance. The crisp and ethereal execution foreshadowed the meticulous care that conductor Louis Lohraseb would lavish upon the production. Droll horn and wind solos, whimsically extended trills, transparent textures, and a touch of indulgence during Rossini’s exhilarating crescendos all acknowledged the music’s buoyant charm.

Ryan Wolfe as Fiorello with the LA Opera Chorus

The opera’s narrative follows the escapades of Count Almaviva as he enlists the aid of the ingenious barber Figaro in his quest to win the heart of Rosina, a spirited young lady held captive by her guardian, Dr. Bartolo. Through a series of disguises, deceptions, and comical mishaps, the opera waltzes inexorably towards the obligatory happy ending where love reigns supreme.

The all-star cast’s vocal prowess was only matched by their comedic dexterity.

Isabel Leonard as Rosina and Joshua Hopkins as Figaro

Canadian Baritone Joshua Hopkins assumed the role of Figaro, his resonant lyric baritone commanding Rossini’s tongue-twisting patter and infusing it with remarkable comic timing. His sonorous baritone resounded through the auditorium during his rousing rendition of “Largo Al Factotum”, the aria immortalized by Bugs Bunny in Looney Tunes’ Rabbit in Seville cartoon.

Isabel Leonard as Rosina

Mezzo Soprano Isabel Leonard, who made a stunning LA Opera debut as Donna Elvira in Don Giovanni, portrayed the spirited Rosina. She exuded vivacity and charm throughout the performance, showcasing her comedic talents through expressions of puzzlement, bewilderment, and confusion that were joyful. Leonard’s interpretation of Rosina’s cavatina, “Una voce poco fa” (“The voice I heard just now”), was a masterclass in breath control, effortlessly navigating intricate coloratura passages with runs, trills, and ornamentations. Her rendition encompassed dynamic shifts, transitioning seamlessly from delicate softness to sudden crescendos.

Edgardo Rocha as Count Almaviva

Uruguayan tenor Edgardo Rocha played Almaviva, the count who adopts various disguises such as a student and a soldier. Rocha’s Rossinian tenor was crystal clear, effortlessly reaching the heights of the showy coloraturas with remarkable ease. His gift for physical comedy and chemistry with Ms. Leonard were commendable, particularly evident in his serenade to Rosina, “Ecco Ridente in Cielo” (“Behold laughing in the sky”), where he maintained a seamless legato, preserving the aria’s lyrical finesse.

Joshua Hopkins as Figaro and Paolo Bordogna as Dr. Bartolo

Italian bass-baritone Paolo Bordogna gave a knockout performance as the villainous Dr. Bartolo with relentless comic zeal, extracting every ounce of hilarity from the character’s blustering absurdity. In the tongue-twisting aria “A un dottor della mia sorte” (“For a doctor of my standing”), Bordogna astutely prioritized articulate enunciation and diction to accentuate the Italian text’s onomatopoeic humor, smartly foregoing the pursuit of a mellifluous sound. (Patrick Carfizzi plays Dr. Bartolo Nov. 9 and 12.)

Joshua Hopkins as Figaro

Italian bass-baritone Luca Pisaroni made his LAO debut as the conniving and opportunistic music teacher, Don Basilio. Pisaroni’s voice possessed a dark, velvety quality, accompanied by crisp Italian diction and a flair for physical comedy. His rendition of “La calunnia è un venticello” (“Slander is a breeze”) was nothing short of spectacular, effortlessly transitioning between lower and upper registers, wielding impeccable breath control, and imbuing the piece with the required comedic zest.

Kathleen O'Mara as Berta

Kathleen O’Mara, a Young LA Opera Artist, with a flexible and creamy lyric soprano instrument, showed great comic chops in   the smaller role of Berta, the amused housekeeper. In the sorbet aria   “Il vecchiotto cerca moglie” (“The old man is looking for a wife”) she effectively navigated the dotted rhythms and syncopations of the Italian lyrics. O’Mara is a young artist who is clearly on the cusp of an international career, and I look forward to hearing and seeing more of her.

The Final Scene

LA Opera’s Barber of Seville is the perfect opera production for opera novices. It is filled with delightful humor, accessible music, and a touch of Broadway glamour. For opera enthusiasts there is fabulous music-making at a world-class level which will have you leave the theatre with a smile on your face and a melody in your heart.

Kathleen O'Mara (Berta), Paolo Bordogna (Dr. Bartolo), Luca Pisaroni (Basilio),
Edgardo Rocha (Count Almaviva) and Joshua Hopkins (Figaro)

photos by  Cory Weaver  / LA Opera

The Barber of Seville
LA Opera
Dorothy Chandler Pavilion, 135 North Grand Ave.
October 29, 2023, at 2pm
November 2, 2023, at 7:30pm
November 4, 2023, at 7:30pm
November 9, 2023, at 7:30pm
November 12, 2023, at 2pm
for tickets, call 213. 972.8001 or visit LA Opera

Ryan Wolfe as Fiorello