Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

In Parenthesis, Welsh National Opera in London

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

Die Walküre, Opera North

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.

Early Gluck arias at the Wigmore Hall

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

OPERA TODAY ARCHIVES »

Reviews

Rosina and Lindoro in Il barbiere di Siviglia [Photo by Cory Weaver]
17 Nov 2013

The Barber of Seville in San Francisco

San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.

The Barber of Seville in San Francisco

A review by Michael Milenski

Above: Rosina and Lindoro in Il barbiere di Siviglia [Photos by Cory Weaver, courtesy of San Francisco Opera]

 

It is the staging of Spanish stage director Emilio Sagi (pronounced saw-he) that has many of the ideas he first explored at Madrid’s Teatro Real in a big production that then traveled to Los Angeles, both cities likely harbors for its witty and affectionate quoting of classic hispanic flamenco postures. This San Francisco Barber is a slimmed down, re-elaborated version of the original Sagi conception that will soon be shared with the Lithuanian National Opera.

There was much to like on opening night, notably the polished performances of Count Almaviva and his future countess, characters also known as Lindoro sung by Mexican tenor Janvier Camarena and Rosina sung by American mezzo-soprano Isabel Leonard.

Mr. Camarena provided the high points of the evening, accompanying himself on the guitar for the serenade with virtuoso plucking technique, acting the music teacher with the skill of a sure comedian. To top it off he gave us the rare “Cessa di più risistere” later known and now better known as “Non piu mesta” from La cenerentola in a dazzling display of fioratura and high notes that brought the house down.

Mlle. Leonard, if not of pure hispanic origin (her mother was Argentine) even so matched Mr. Camarena’s latin excitement and brilliant singing with a presence that exuded refined fun and projected mature vocal and histrionic confidence — a poised Rosina who knew what she wanted and how to get it. Once a student at the Joffrey Ballet School she was well prepared to snap out flamenco poses that easily outclassed those of the official ballerinas.

There were moments of fine, idiomatic conducting. Italian conductor Giuseppe Finzi effectively captured the ephemeral Rossini ethos from time to time (the joy and blatant fun of singing difficult, florid music with aplomb), particularly in his support of the arias of these two singers. As well the maestro often caught the transparent rhythms of the big ensembles where three to six complex and sometimes more vocal lines compete with complete musical ease, conviction and wit.

The set, designed by Spaniard Llorenç Corbella, is quite different from the Madrid production. Here it is essentially a narrow, diagonally raked platform thrusting upstage, with an adjacent abstract black area (no scenery) accessible to various contraptions on wheels and lots of choristers. At best the set worked well, the rake providing a dynamic line on which the principals moved up and down, on and off, the black area serving as a space to stage business that elaborates the various musical numbers.

Besides the witty gloss of the flamenco poses, the Sagi production was embellished with lots of spoke wheel vehicles (bicycle like) that gave a sense of lightness and fleetness to the staging that flouted period (century or decade). The costumes as well were embellished with witty abstractions of Sevillian decorations that had little to do with period and everything to do taking costumes onto an abstract musical level.

Various human bodies and objects crawled out from under the raked platform and props flew down from above from time to time to further negate any sense of real time or real space. Barber’s various numbers were arbitrarily placed on the ramp or in the black space and finally everything more or less disappeared anyway to reveal a night sky filled with fireworks (projected). In short director Sagi and his designer Corbella concocted a heady framework for the music of Rossini’s masterpiece. It would have been truly brilliant had it gotten off the ground.

Barber_Tutti.pngLucas Meachem as Figaro, Janvier Camarena as Almaviva, Alessandro Corbelli as Bartolo, Andrea Silvestrelli as Basilio, Catherine Cook as Berta, Isabel Leonard as Rosina [Photo by Cory Weaver]

Unfortunately stage director Sagi was more interested in exploring these interesting theatrical ideas than in staging his singers. This lack of a unified and focused dramatic intelligence resulted in the feeling that Rossini’s headstrong characters were arbitrarily walking through the classic comedic process rather than bringing it to life.

A plodding succession of the events of the story we know so well resulted. This sense was exacerbated in the pit. While conductor Finzi did have his truly splendid moments, and there many of them he could not impose a larger musical unity over an act or the evening, evidenced by the overture that ignited no excitement whatsoever. There was a sense of relief when nine dancers appeared to maybe add some life with a bit of abstracted flamenco movement. Alas the choreography was clumsy and meaningless, later met with feelings of dread whenever the dancing became lengthy.

BarberSF_Berta.pngA.J. Glueckert as Ambrogio, Catherine Cook as Berta [Photo by Cory Weaver]

Catherine Cook was the Berta who was as lightheaded as Rosina was weighty minded. She made her aria another of the evening’s high points with the help of her adoring Ambrogio, Adler Fellow A.J. Glueckert who shined as a silent, physical performance artist given he has hardly anything to sing. Bass baritone Hadleigh Adams brought snap and flair to the brief role of the Officer, not allowing his few moments on stage to go unnoticed.

Andrea Silvestrelli brought the considerable panache he provides Rigoletto’s Sparafucile to the role of Basilio. This major role stood out as miscast, and as a vocal misfit into Rossini’s vocal and musical textures. Much the same can be said of the Figaro of Lucas Meachem who confused bellowing with singing and strutting with acting. Italian bass baritone Alessandro Corbelli is a small scale if accomplished Bartolo who here disappeared into the melée rather than making himself the cause of it all.

Of the many, many Barbiere productions encountered over the years, this one stacks up among the best. Its glaring flaws could have easily been overcome with more careful casting, conducting, lighting and directing.

Michael Milenski


Cast and production information:

Figaro: Lucas Meachem; Rosina: Isabel Leonard; Count Almaviva: Javier Camarena; Doctor Bartolo: Alessandro Corbelli; Don Basilio: Andrea Silvestrelli; Berta: Catherine Cook; Ambrogio: A.J. Glueckert; Fiorello: Ao Li; An Officer: Hadleigh Adams; Notary: Andrew Truett. San Francisco Opera Chorus and Orchestra. Conductor: Giuseppe Finzi. Stage director: Emilio Sagi; Set Designer: Llorenc Corbella; Costume Designer: Pepa Ojanguren; Lighting Designer: Gary Marder; Choreographer: Nuria Castejón. San Francisco War Memorial Opera House. November 13, 2013.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):