The Barber of Seville – Wide Open Opera Company at Bord Gáis Energy Theatre – Review by P McGovern

20 Apr 2016 – 23 Apr 2016

If the first performance of Rossini’s The Barber of Seville was booed at its premiere exactly 200 years ago, it has been cheered many times since, as this production was at its Dublin opening last night.

The opera sparkles and fizzes with fun, energy and beautiful music and this company has the creativity, acting and musical ability to do it justice. Lindoro/ Count Almaviva wants to make sure Rosina loves him for himself, not his money or title. Greedy guardian, Don Bartolo, who wants to marry Rosina himself, enlists Almaviva’s former servant, Figaro, to prevent the love match. Figaro naturally remains in the service of Count Almaviva and of true love. Scheming elderly guardians with an eye on money, out to thwart young love; planned elopements, intercepted messages, elaborate disguises, short-lived heartbreak giving way to a happy-ever-after ending: this is opera buffa at its very best. Conductor, Fergal Shiel and director, Michael Barker-Caven, have welded soloists, chorus and the bright, breezy playing of the orchestra into a seamless unit. The Act l finale sextet, taken at breakneck speed, gets the split-second timing it demands from soloist, chorus and players. It sends you out at the interval with a smile on your face, one which you will retain for the rest of the evening.

As Rosina, Tara Erraught’s first aria, the famous “Una voce poco fa”, explains her soaring international reputation. Throughout, she throws off the most glorious coloratura singing effortlessly.  It would be worth going just for her alone. However, she is more than adequately supported by a superb cast and a solid chorus that make for an evening of unqualified enjoyment. Gavan Ring’s Barber combines wonderful comic acting with assured singing.  His guitar routine is hilarious, very much in keeping with the spirit of the piece. Indeed, the comic opportunities are fully exploited throughout the evening, memorably in the “Buona Sera” and “Pace e goia” scenes.

In this production, Graeme Danby’s Bartolo is not a pathetic buffoon but a crafty and credible adversary not to be taken for granted. A pompous and autocratic “doctor of my class”, he is some kind of musical agent/impresario, a device that lends itself to some imaginative stage business that works well. Less successful is the setting of the opera in Francoist Spain with fascist police, posters and dissenting slogans. The suggested parallel between Bartolo and Franco, reinforced by the waving of banners reading “Libertad” and “Venceremos”, seems imposed rather than integrated, occasionally evoking a mood that jars with the music. However, this is but a minor reservation and takes nothing away from the overall enjoyment.

John Molloy’s scheming intermediary, Basilio, is in great voice.  Advising that “calumny is a little breeze”, he will take the better offer from either side until finally he is made an offer he can’t refuse…  In the role of Almaviva, Tyler Nelson gives a very pleasant performance. While he may not be convincing in his guise of romantic troubadour at the beginning of the opera, he more than makes up for it musically and comically in his interlude with Rosina, now in his guise of “tutor”.

In the minor role of Berta, Mary O’Sullivan’s natural acting is matched by her unforced pure, clean soprano. With her shopping bags, floppy hat, swivel chair, folder and desk she makes the stage her own in her Act ll solo, is one the highlights of the evening. Before long we may see her in a not-so-minor role.

The production is a triumphant marriage of music and action.  If the very closing wedding scene loses focus a little, it may be due to the structure of the opera, coming as it does to a sudden denouement and ending with a pedestrian chorus. This is an evening’s opera that only the most determined grouch could fail to enjoy. It should not be missed by anyone who values good music and great fun.