The Barber of Seville- Review

On Thursday February 6, 2014, I took the advantage of attending an afternoon matinee performance of Gioachino Rossini’s The Barber of Seville, playing at the Lyric Opera of Chicago. The cast includes Nathan Gunn (Figaro), Isabel Leonard (Rosina), Alex Shrader (Count Almaviva), Alessandro Corbelli (Dr.Bartolo), Kyle Ketelsen (Don Basilio), Tracy Cantin (Berta), Will Liverman (Fiorello), and John Irvin (Sergeant).

It was the first time I had the opportunity of attending a show in one of the premier opera theaters of Chicago. As I quickly stepped inside to escape the frigid winds of downtown Wacker Drive, I was greeted by thoughtful and courteous attendants. I was quite impressed by the senior ushers who presented themselves in a dignified and orderly manner. As I sat down in the theater I was fascinated with the architecture that surrounded me. The ambient lighting, the multi- tiered balcony with gold trimming and ornamentation, and of course the large stage and orchestra pit.

I was thrilled to arrive just in time to here an informative lecture by Jack Zimmerman who began his talk by saying “According to opera lore, Gioachino Rossini liked to compose in bed. Occasionally he’d drop a sheet of completed manuscript on the floor, and rather than throw back the covers and get up to retrieve it, he’d simply compose a new page.” He also mentions that “Rossini had begun composing when he was only 11. By 21 having produced Tancredi and L’italiana in Ageri, he was the most successful composer in Italy. He wrote Barbiere before he was 24. It took him all of three weeks, and the work became a cultural landmark, known even to people who have never seen the inside of an opera house.”

When the lights dimmed and the overture began, I said to myself “I’ve heard this before”. The familiar, rapid playing violins accompanied by timpani, horns and flutes. It was such a grand introduction! When the curtain lifted, it was as if I was transported back to 19th century Seville. The customs were very colorful and the stage set was superbly designed.

Act one opens with Count Almavira (alias Lindoro), his servant Fiorella, and a group of hired musicians attempting to serenade Rosina whom Almavira is madly in love with. The antagonist, Dr. Bartolo who is the elderly guardian of Rosina has already planned to take her as his wife by force. The Count who has disguised himself as a common person is hoping Rosina will accept him in his disguise so that their love will be true. Thinking his serenade attempt failed, he employs the skills of the popular Figoro who gladly agrees to help him win Rosina, for a handsome fee of course. Once Rosina has declares her love for Count Almavira, Figoro must come up with the perfect plot to win Rosina’s freedom from the cruel Dr. Bartolo who also has an elaborate plot of his own to ensnare her. The short arias during act one along with the duet between Figoro and Count Almavira (All’idea di quel metallo), adds to the suspense of the scene. In act two, Dr. Bartolo tries to deceive Rosina into thinking that Lindoro is working for the Count who wants to have her not knowing that Lindoro is the Count. Dr. Bartolo then employs Don Basilio to assist him in formulating a plan to marry Rosina against her will. However, in the end, Count Almavira reveals himself to Rosina, Dr. Bartolos is totally vanquished, and the two lovers live happily ever after.

What captivated my attention the most was the villainous portrayal of Dr. Bartolo played by Alessandro Corbelli, I could not wait till he received his just reward. Although the opera was quite lengthy, I enjoyed it completely. I would like to share a classic cartoon that depicts this opera from a different perspective, it is the 1949 classic “Rabbit of Seville”; It’s hilarious!http://www.youtube.com/watch?v=INGB4tFvHwY