Calgary Opera's Barber of Seville Delivers Joyful, Modern Comedy
Calgary Opera has concluded its main season with a production of Gioachino Rossini's The Barber of Seville that is both fun-filled and exuberantly joyous. This staging, which features a cast largely new to the city, embraces comedy wholeheartedly, setting the opera in a whimsical fantasy land rather than adhering to strict historical accuracy.
A Fresh Approach to a Classic
The production wisely avoids the potential stodginess of a historically correct presentation, which can feel outdated, and instead opts for a setting rich with modern comedic references. Elements such as a chorus line, a thinly veiled Elvis impersonator, and a supremely confident barber create points of connection for contemporary audiences while maintaining the essence of Rossini's timeless music.
The well-known plot follows Count Almaviva as he enlists the clever barber Figaro to help him win the love of Rosina, who is under the guardianship of Dr. Bartolo. Bartolo, aiming to marry Rosina himself to secure her dowry, involves the music teacher Don Basilio in his schemes, leading to a series of humorous misunderstandings and deceptions.
Local Talent and Unified Vision
This is a distinctly local production, with sets designed by Scott Reid and costumes by Heather Moore. The costumes, in particular, play a significant role in establishing the comedic tone, showcasing meticulous attention to detail. Under Elizabeth Tarhan's expert and clever stage direction, and with Daniela Musca's clear-minded orchestral leadership, the production achieves a remarkable unity of concept. The careful planning is evident in every aspect, resulting in a fresh and cohesive execution that captivates from start to finish.
Standout Performances from New and Familiar Faces
With the exception of Edmonton's John Tessier, the principal singers are all making their Calgary debuts, bringing new energy to the stage. Grisha Martirosyan shines as Figaro, possessing the ideal high baritone voice and the braggadocio the role demands. Handsome and commanding, he delivers his famous opening aria with both authority and great humor, maintaining his character's essence throughout the action and ensemble pieces in a stellar performance.
Siphokazi Molteno from South Africa takes on the demanding role of Rosina, which requires vocal agility and a wide range. She handles the florid music with ease, particularly in her opening aria, showcasing superb singing. While her comedic elements are slightly subdued, this role suits her well and is likely to become a staple in her career.
John Tessier, as the comic tenor, is perfectly matched to his role, demonstrating why he is considered one of Canada's leading tenors in this genre. His performance in Calgary is arguably his best yet, with idiomatic singing and an unparalleled ability to ham it up on stage. He irresistibly draws the eye whenever present, delivering what may be the strongest interpretation of this role in the opera's local history.
Overall, Calgary Opera's The Barber of Seville is a triumph of modern comedy, expertly blending traditional elements with innovative staging to create a production that is both accessible and deeply entertaining. It celebrates Rossini's music while inviting audiences to laugh along with its playful, imaginative spirit.
