Saturday, February 28, 2015
Rossini's Barber of Seville is perhaps the world's favorite opera buffa, and with good reason. You have Rossini's delightful music with its hummable, memorable themes (already familiar to anyone who grew up with Bugs Bunny). And you have the classic Beaumarchais comedy of sassy servants helping young lovers outwit pompous elders with disguises, subterfuge, and plot twists, the pinnacle of French comedy drawing on commedia dell'arte traditions. The current production at LA Opera renders this classic splendidly. Some bright young talents enliven the lead roles, with a shimmering golden tenor of René Barbera giving us a handsome Almaviva, the brilliant soaring mezzo of Elizabeth DeShong giving us a spirited and sassy Rosina, and the nimble mellifluous baritone of Rodion Pogossov making a puckish Figaro. Many of the great arias, duets, and ensembles ended to sustained applause from a delighted audience. The set (from a Teatro Real Madrid production) cleverly uses some giant white columns and walls with baroque details and wrought iron gate, all of which move around and reconfigure from a Seville street under a balcony to the interior of Don Bartolo's home. While the architecture is ornate, the furniture is spare, just the essential pieces, plus several chairs that get used in unexpected ways, including being artfully tossed around and pulled out from under people. The costumes and lighting play with color, beginning the play in nearly all white, adding color as the plot progresses, with the finale a riot of bright colors when the lovers take off in an air balloon. (Hey, didn't I just see that balloon the other week in the Ghosts of Versailles? :-)) The direction is lively and playful, layering physical comic notes on an already very funny libretto (like a hyperactive Figaro circling the others when they are "frozen like statues", waving his hands in front of their unregistering faces). When Almaviva sings his opening serenade, the women of Seville step out to see what is going on, and throughout the opera an ensemble of nosy townsfolk are always looking in around the edges of the action. We took our college-age nieces to see this, as it's such a good first opera experience, and we all enjoyed it immensely.