Company

Singer

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The Count of Almaviva

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Doctor Bartolo

Rosina

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Figaro

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Don Basilio

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Berta

Fiorello

Ambrogio

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Graham Abbott

Conductor

Stage director

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Set designer

Costume designer

Lighting designer

Choreographer

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Lindy Hume

State Opera Ensemble

Adelaide Symphony Orchestra

Italian

Il barbiere di Siviglia - The Barber of Seville

Il barbiere di Siviglia Rossini

Public

Private

Opera

The Barber of Seville

English

Approved

Many of my generation were introduced to Rossini’s famed opera buffa The Barber of Sevillevia the famed Warner Brothers’ cartoon featuring Bugs Bunny and Elmer Fudd. Director Lindy Hume’s vision of the work derives much from this technicoloured short, with its almost gaudy costumes and highly effective lighting (Tracy Grant Lord and Matthew Marshall respectively). The sets are dominated by a salon-like array of windows which open to spotlight members of the cast; its costumes reflect both the commedia dell’ arte, 1950s technicolour and postmodernism. A co-production between Opera Queensland, Seattle Opera and New Zealand Opera, it has already received acclaim at those companies.

The Barber of Seville (State Opera South Australia)

Versatile conductor Graham Abbott surprisingly cut his Rossinian teeth on this occasion, getting right to the heart of the comedy and the helter-skelter nature of the music, and drawing excellent sound and pacing from the Adelaide Symphony Orchestra. The overture was perfectly paced, with nice work from the woodwinds, foreshadowing the musical fun to come. The mostly male chorus of the State Opera Ensemble were nimble and perfectly synchronised in their contribution.

A lively Barber of Seville in State Opera of South Australia's new home

Lindy Hume’s production of The Barber of Seville for State Opera South Australia is a delightful romp that uproariously brings to life the mischievous liar, womaniser and conman Figaro. It’s colourfully vivacious, flamboyant and, most importantly, extremely well sung. Plus it has a few clever modern touches, too, that hoist this venerable 200-year-old comic opera into the present.

Hume and costumes designer Tracy Grant Lord essentially thrust us back into the era of lords and ladies in 17th-century Spain, into which Figaro swoops as a kind of latter-day renegade rock star. They mill about in their customary cloaks and gowns; but he is decked out in a bright purple jumpsuit and black headband, looking rather like a cross between Prince and Elvis Presley.

Played with incomparable brilliance by baritone Morgan Pearse, this Figaro is a contemporary breakout hero who operates outside the rigid class barriers that confine his comrades. The best moment is when the action freezes, he strides into the auditorium, with the house lights up, and stops momentarily to say a casual “Hi” to one of the audience members in the front row, then proceeds to the stage to deliver the famous aria “Largo al factotum” with dazzling cheek.

Pearse is consummate in this role both vocally and acting-wise. Striking an outstretched Presley pose at the end, he is every bit an updated version of Brighella, the precocious masked servant from the Italian Commedia dell’arte who gave Rossini his inspiration to write The Barber of Seville in the first place, courtesy of Beaumarchais’s 1773 play.

Nearly stealing the show later on is bass Douglas McNicol as Doctor Bartolo. He is the stern housemaster who locks away the young Rosina for his future wife – and whom Figaro mocks by lathering shaving cream all over his face and on top of his bald head. McNicol, always a favourite in State Opera productions, has outdone himself yet again in authority, agility and humour. His falsetto aria “Quando mi sei vicina”, to guitar accompaniment in the second act’s music lesson scene, is riotously funny.

Also bringing great vocal theatrics to the party is tenor John Longmuir as a bright, sparky Count Almaviva. Clear as a bell on the top notes and navigating Rossini’s super-hard coloratura really well, he makes the perfect serenading lover.

Opera review: The Barber of Seville

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A love-sick Count, a feisty young woman, and a barber with a cunning plan.

Rossini’s comic masterpiece The Barber of Seville is a giddy romp along the path to true love, by way of serenades, ridiculous disguises, and trickery. If love makes a fool of us all, then this popular opera-buffa is one of the greats. Imprisoned by her ghastly guardian, the savvy Rosina is no match for lock and key, especially when the fast-talking, flashy Figaro turns up and promises to help her find the man of her dreams. This vivid and vivacious production features a dazzling collection of Australia’s opera stars, including Morgan Pearse as Figaro, John Longmuir as the Count, and introducing Katie Stenzel as Rosina.

The Barber of Seville by Gioachino Rossini, From ############################## (2021/2021), Directed by Lindy Hume,, Conductor Graham Abbott

Credits (Cast & Crew)

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Ensemble

State Opera Ensemble

Adelaide Symphony Orchestra

Co-Producer

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Program, About & Synopsis

Reviews

Photos 1

Further reading

Performance Dates & Venues 10