First staged in Rome in 1816, The Barber of Seville is a jewel in the crown of Italian opera. But while it was born in the Eternal City, this production has some distinctly Australian undertones.
A staging of the late Elijah Moshinsky’s 1995 adaptation for Opera Australia (OA), this rendering of the renowned opera buffa has an Antipodean flavour from the very first scene. When Count Almaviva (John Longmuir) serenades Rosina (Serena Malfi) by night from the street outside her house, the backdrop resembles a long row of Sydney terraces such as you might find in Balmain, Glebe or Paddington – right down to the tin roofs. Palm trees resembling our local cabbage tree palms line the street.
But purists need not worry. Revived by Heather Fairbairn, this is a respectful and largely faithful rendition of Gioachino Rossini’s best-known opera.
For the uninitiated, the story revolves around Rosina, who is a ward of Seville physician Dr Bartolo (Andrew Moran). Bartolo wants to marry Rosina for her dowry. Almaviva and Rosina want to marry each other for love. Bartolo locks Rosina up in his house until he can arrange a wedding; Almaviva dons a series of ever more ridiculous disguises to gain access and thwart the nuptials. Slapstick comedy ensues.
Central to the action is local barber Figaro (Samuel Dale Johnson, in his OA debut). The hero of the tale, he uses his wits to help the lovers unite.
Opera is a famously multidimensional art form that draws from many areas of the arts. Music, acting, singing, visual arts and dance all combine to create a successful opera. OA’s Seville highlights this very well.
The music is rapturous. From the overture onwards, conductor Daniel Smith executes perfect control; his orchestra of more than 70 respond with an agility and energy that draws sustained applause.
The cast is sensational. Standouts include Johnson, with his buoyant physicality and fine baritone; Italian mezzo-soprano Malfi (another OA debut), whose beguiling voice and CV spanning the world’s biggest opera houses brings serious star wattage to the stage; and the dextrous young tenor Longmuir, who proves agile both vocally and comedically.
The role of Dr Bartolo is not a sympathetic one (in fact, he’s the villain), but Moran’s talent for physical comedy generates plenty of mirth; for example, when he gestures to a patient that a medication must be taken as a suppository, not orally. Vocally, he’s dextrous and particularly good at patter singing – that’s singing at an increasingly fast tempo with just one syllable per note.
As Bartolo’s smarmy friend Don Basilio, talented bass David Parkin also shows his mastery of patter in ‘La Callunia’, where he describes how a rumour can become a full-blown scandal. His performance gets faster and faster in tandem with the orchestra, building and building until an explosive conclusion.
Visually, this Seville is a treat. Inspired by the silent movies of the 1920s, it features unusual touches such as a life-sized doll’s house. But set designer Michael Yeargan’s biggest triumph is the spectacular two-storey cutaway interior of Bartolo’s house, depicting Rosina’s bedroom, Bartolo’s parlour, his surgery and several other lavishly furnished rooms. The 1920s-style costumes by Dona Granata are also visually arresting and a delight to behold.
Read: Comedy review: Jokes About the Time I Went To Prison, FRINGE WORLD
Overall, this rendering of The Barber of Seville is terrific fun, showcasing comic opera at its best. Highly accessible and easy to follow, it’s commendable for both opera aficionados and those new to the art form.
The Barber of Seville
Joan Sutherland Theatre, Sydney Opera House
Composer: Gioachino Rossini
Librettist: Cesare Sterbini
Conductor: Daniel Smith (18 January to 22 February), Tahu Matheson (24-28 February)
Director: Elijah Moshinsky
Revival Director: Heather Fairbairn
Set Designer: Michael Yeargan
Costume Designer: Dona Granata
Lighting Designer: Howard Harrison
Cast: Jane Ede, Samuel Dale Johnson, Nathan Lay, John Longmuir (18 January to 13 February), Serena Malfi (18 January to 13 February), Andrew Moran, Simon Meadows, David Parkin, Shanul Sharma (15-18 February), Helen Sherman (15-28 February).
With: Opera Australia Chorus, Opera Australia Orchestra
Tickets: $49-$389
The Barber of Seville will be performed until 28 February 2025.
