The Barber of Seville - comic opera review

FIGARO'S FROLICS: Elena Belfiore as Rosina and José Carbó as Figaro in rehearsals for 'The Barber of Seville'. Image: Mark Brake.


'The Barber Of Seville/Il barbiere di Siviglia' is a riotous romantic comedy opera by Gioachino Rossini, based on a play by the French playwright Beaumarchais. The comic opera features funny, fast-paced action and fine belcanto singing in two acts.

The plot revolves around the Count Almaviva, and his intentions to marry the rich and beautiful Rosina, who is Dr. Bartolo's young ward. Count Almaviva is in hot pursuit of Rosina but his plans of marrying the little vixen is thwarted as Dr. Bartolo also wants to marry Rosina.

The Count wants Rosina to marry him for his personality and not his title, so he disguises himself as a student named Lindoro. As Lindoro, the Count serenades Rosina under her balcony, but fails to entice her.

The Count encounters his former employee and barber, Figaro, who helps him get into Rosina's residence for a price. Count Almaviva agrees and the two cause much fun and frivolity as the Count plays it for love and Figaro for the money.


Comic Coiffeur by Linh

State Opera of South Australia presents 'The Barber of Seville', its final opera production for 2007, also one of the most colourful and beautifully composed operas from Gioachino Rossini.

'The Barber Of Seville' features a strong cast along with solid support from the State Opera Chorus and sterling orchestral accompaniment from the Adelaide Symphony Orchestra under the musical baton of conductor Tom Woods.

Set in a 1930s health spa for the fashionable and famous, with gloriously elaborate set design and gorgeous costumes by Leon Krasenstein, director John Milson gives a different comedic edge to the popular opera.

Baritone José Carbó is a fabulous Figaro whose agility in movement and voice adds energy and vitality to his aria Largo al factotum della città/Make way for the factotum (Jack of all trades) of the city. José Carbó steals many of the scenes solely due to his clever characterisation of the scheming barber, especially in his letter scene with Rosina and their duet Dunque io son...tu non m'inganni?/Then I'm the one...you're not fooling me?.

Tenor Henry Choo gives a superb performance as the lovestruck Count Almaviva and is vocally graceful in his solo Ecco ridente in cielo/There laughing in the sky, as he woos Rosina. His duet with Rosina Buona sera, mio Signore/Fare you well then, good Signore is a sweet and short moment reminscent of Romeo and Juliet.

Stunning Italian mezzo soprano Elena Belfiore is more than up to the task with a feisty and fiery portrayal of Rosina. Her rendition of Una voce poco fa/A little voice I heard just now followed by Io sono decile/With mild and docile air are awe-inspiring and her vocal pyrotechnics are dazzling.

The supporting cast are sensational with Douglas McNicol giving a commanding performance as the suspicious Dr. Bartolo; Adelaide soprano Deborah Caddy sings her solo where her outpouring of suppressed anguish and frustrations are heartfelt and moving; Stephen Bennett as music teacher Don Basilio has memorable moments including an aria where he gleefully suggests ways of slandering the Count.

'The Barber of Seville' was written without an overture, and the attempts by the orchestra in creating a short introduction to the opera is a disappointment, sounding very tacked on and almost like filler for background changes.

However, it's an enjoyable, hilarious and entertaining comic opera to end the 2007 season for State Opera of SA.