Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

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):