Operatoonity.com review: The Barber of Seville presented by Glimmerglass Festival
Live performance: Monday, July 23, 1:30 p.m.
The Alice Busch Opera Theater, Cooperstown, NY
Music: Gioachino Rossini
Libretto: Cesare Sterbini
4.5 out of 5.0 stars
Chorus members in Barber of Seville
" data-orig-size="1600,1067" sizes="(max-width: 500px) 100vw, 500px" data-image-title="Ensemble" data-orig-file="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?fit=1600%2C1067" class="size-large wp-image-9307" height="333" width="500" data-medium-file="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?fit=300%2C200" data-permalink="http://operatoonity.com/2018/08/05/goperas-sudsy-barber-is-molto-boffo/ensemble/" alt="Barber of Seville" data-recalc-dims="1" srcset="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?resize=1024%2C683 1024w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?resize=300%2C200 300w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?resize=768%2C512 768w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?resize=50%2C33 50w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?w=1600 1600w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?w=1500 1500w" data-image-meta="{"aperture":"0","credit":"Karli Cadel","camera":"Canon EOS 5D Mark III","caption":"","created_timestamp":"1531190434","copyright":"\u00a9 2018 Karli Cadel","focal_length":"110","iso":"1600","shutter_speed":"0.004","title":"","orientation":"0"}" data-large-file="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Ensemble.jpg?fit=500%2C333" />Members of the ensemble in The Glimmerglass Festival’s 2018 production of Rossini’s “The Barber of Seville.” | Photo: Karli Cadel/The Glimmerglass Festival
Nothing but blue skies (and backdrops) for the Glimmerglass Festival’s new production of the operatic golden oldie The Barber of Seville. The bel canto singing, the commedia dell’arte elements, the boffo performances–even the clown costumes–were golden and buttery while set amidst a sea of nature’s favorite color–blue scrims, blue cartoonish set pieces, and blue letters spelling out the name of the Italian barber on everyone’s lips, none more so than his own–opera’s beloved “Figaro.”
For Francesca Zambello, this production showcased both her artistry as a director and her talent as an impresaria to the greatest degree that I have witnessed since reviewing shows at Glimmerglass. How do you take a too-silly old chestnut from the opera firmament and make it fresh and fun again, some 200 years after its premiere? Infuse the show with classic Italian comedy characters, cartoonish sets, and Burma Shave style messaging. And voilà. Director Zambello creates a hit show for Impresaria Zambello.
Joshua Hopkins as Figaro and Rock Lasky as Figaro’s Assistant (center) with members of the ensemble | Photo: Karli Cadel/The Glimmerglass Festival
Zambello’s talented design team–John Conklin, scenery; Lynly Saunders, costumes; and Robert Wierzel, lighting–seamlessly conveyed her buoyant, arguably brilliant, vision for this ‘Barber.’
While the cast was stronger together (which might have made a great campaign slogan), there were standout individual performances.
As the title character, baritone Joshua Hopkins delivered a star turn as Seville’s most famous and craftiest barber. What a whopping role Figaro is, too. One must sing like a saint and be able to act like the devil. Hopkins’ signature aria, which sets the tone for the show, was outstanding.
Figaro in The Barber of Seville
" data-orig-size="1600,1067" sizes="(max-width: 500px) 100vw, 500px" data-image-title="Fiagaro" data-orig-file="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?fit=1600%2C1067" class="size-large wp-image-9312" height="333" width="500" data-medium-file="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?fit=300%2C200" data-permalink="http://operatoonity.com/2018/08/05/goperas-sudsy-barber-is-molto-boffo/fiagaro/" alt="Figaro " data-recalc-dims="1" srcset="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?resize=1024%2C683 1024w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?resize=300%2C200 300w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?resize=768%2C512 768w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?resize=50%2C33 50w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?w=1600 1600w, https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?w=1500 1500w" data-image-meta="{"aperture":"0","credit":"Karli Cadel","camera":"Canon EOS 5D Mark III","caption":"","created_timestamp":"1531189262","copyright":"\u00a9 2018 Karli Cadel","focal_length":"200","iso":"2000","shutter_speed":"0.0025","title":"","orientation":"0"}" data-large-file="https://i1.wp.com/operatoonity.com/wp-content/uploads/2018/08/Fiagaro.jpg?fit=500%2C333" />Joshua Hopkins as Figaro and Rock Lasky as Figaro’s Assistant | Photo: Karli Cadel/The Glimmerglass Festival
Not content with the bold blue set, the efficient yellow clowns, and the innumerable sight gags to sell the show, Zambello added the character of Figaro’s Assistant, played by Rock Lasky, a member of the Glimmerglass Youth Chorus. Figaro’s youthful aide de camp was an endearing addition to the show. After all, Lasky helped the good guys escape many close shaves.
As leading man Count Almaviva/Lindoro/Don Alonso, David Walton proved his mettle as a Rossini tenor as the show progressed. His nasally prominent Don Alonso was simply hilarious.
L to R: David Walton as Count Almaviva and Ben Schaefer as Fiorello with members of the ensemble in The Glimmerglass Festival’s 2018 production of Rossini’s “The Barber of Seville.” Photo: Karli Cadel/The Glimmerglass Festival
As the corseted and cosseted Rosina, apple of several gents’ eyes, soprano Emily D’Angelo sang gloriously. She acted appropriately pouty or lovestruck (depending on the gent laying eyes on her).
Emily D’Angelo as Rosina | Photo: Karli Cadel/The Glimmerglass Festival
As the maid Berta, Young Artist Alexandria Shiner stole the stage from the more gentrified (also lunatic) characters to deliver a perfect Rossini aria.
The maid sings an aria
" data-orig-size="1600,1067" sizes="(max-width: 500px) 100vw, 500px" data-image-title="maid" data-orig-file="https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?fit=1600%2C1067" class="size-large wp-image-9315" height="333" width="500" data-medium-file="https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?fit=300%2C200" data-permalink="http://operatoonity.com/2018/08/05/goperas-sudsy-barber-is-molto-boffo/maid/" alt="" data-recalc-dims="1" srcset="https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?resize=1024%2C683 1024w, https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?resize=300%2C200 300w, https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?resize=768%2C512 768w, https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?resize=50%2C33 50w, https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?w=1600 1600w, https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?w=1500 1500w" data-image-meta="{"aperture":"0","credit":"Karli Cadel","camera":"Canon EOS 5D Mark III","caption":"","created_timestamp":"1531196701","copyright":"\u00a9 2018 Karli Cadel","focal_length":"75","iso":"1250","shutter_speed":"0.0025","title":"","orientation":"0"}" data-large-file="https://i2.wp.com/operatoonity.com/wp-content/uploads/2018/08/maid.jpg?fit=500%2C333" />Alexandria Shiner as Berta | Photo: Karli Cadel/The Glimmerglass Festival
But the biggest curtain ovation at the performance I attended was deservedly earned by bass-baritone Dale Travis as the scheming and lecherous Dr. Bartolo. He delivered the laughs. He delivered the singing. Bravo, Dale. Your comic timing–perfetto!
Dale Travis as Doctor Bartolo and Joshua Hopkins as Figaro in The Glimmerglass Festival’s 2018 production of Rossini’s “The Barber of Seville.” Photo: Karli Cadel/The Glimmerglass Festival
‘The Barber of Seville’ demands a great deal from its principals. Perfection in vocal agility as the passages and runs get faster and faster. Superb comic timing. The principal players offered the best ‘Barber’ this reviewer has had the good fortune to see–in true sum-of-its parts fashion. Bravi, all!
L to R: Alexandria Shiner as Berta, Timothy Bruno as Don Basilio, Dale Travis as Doctor Bartolo, Joshua Hopkins as Figaro, David Walton as Count Almaviva and Emily D’Angelo as Rosina | Photo: Karli Cadel/The Glimmerglass Festival
Why not a perfect 5 stars? Two reasons. While Hopkins delivered a strong Figaro, I have yet to see the quintessential Figaro. Also, the orchestra was too loud on several occasions. If the stage performers have no say in the overpowering volume of the orchestra, let me tell Maestro Colaneri for them. Not many stars can sing over a full orchestra. The audience feels the singers’ frustration when they are moving their lips but can’t be heard. It’s bel canto. We are here for the beautiful singing.
