 |
| Nicholas Jones, Haotian Qi and Esther Song and Company in the finale scene of "The Barber of Seville". |
Composed by
Gioachino Rossini – Libretto by Cesare Sterbini
Conducted by
Luke Spicer – Directed by Priscilla Jackman
Set Design
by Michael Scott Mitchell – Costume Design by Sabina Myers
Lighting
Design by Morgan Moroney.
Canberra
Theatre 15th – 17th September, 2022
Opening
night performance on 15th September reviewed by Bill Stephens.
Priscilla
Jackman’s scintillating production of “The Barber of the Seville” has been
touring Australia since July 2022. These four performances in the Canberra
Theatre are the last of the current tour. As a strategy to avoid Covid
cancellations, the production boasts two complete casts, who alternate
performances. Those playing principal roles at one performance alternate as
ensemble for the next.
As both
casts contain some of Opera Australia’s most experienced principal singers
together with some if its brightest young emerging soloists. This is luxury
casting for any touring production, and it’s not only the audience which
benefits, but also the singers who appear to revel in the opportunity to
participate in Jackman’s delightfully wacky shenanigans.
It was an
inspired decision by Jackman to set her production in the famous Victorian
Yarra Valley wine region where a town called Seville actually exists. In this
Seville, Rosina runs her own cellar door under the watchful eye of her
guardian, town physician, Dr. Bartolo and Figaro runs his pop-up barber-shop
from his bicycle.
 |
| Andrew Moran (Dr Bartolo) - Esther Song (Rosina) |
Michael
Scott-Mitchell gets into the mood with a witty setting which vaguely hints at
early Australiana, with many components manoeuvred manfully by the hard-working
cast to represent any number of locations and packed full of delightful visual
surprises.
For her
contribution, costume designer Sabina Myers also disregards any pretension of
historical accuracy for a riotous collection of clashing colours, dominated by fluorescent
pink which she used liberally for clothes, wigs and even outrageous moustaches
for the whole cast, which make their first playful appearance during the
overture.
Only Morgan
Moroney’s rather gloomy lighting design seemed at odds with the comic-book mood
of the rest of the production.
 |
| Haotian Qi ( Figaro) - Esther Song (Rosina) |
On opening
night the heroine and cellar-door proprietor, Rosina, was performed by Esther
Song who impressed, not only with her mastery of bel canto which allowed her to
confidently perform Rossini’s difficult and delightful arias with apparent
ease, but also with her comedic talents which she brought to her deliciously
cheeky characterisation.
Matching her
as her wily, inventive suitor, Count Almaviva, Nicholas Jones offered a
superbly sung, confident comedic performance, even if his many disguises didn’t
fool anyone.
Despite his
very fine voice, agreeable presence and ability to execute the direction
accurately, Haotian Qi seemed miscast as Figaro, the local barber and general
busybody. The character of Figaro should
dominate any production of “The Barber of Seville”. Given the general style of the piece, Haotian
Qi’s characterisation needed rather more swagger and bravado to prevent him
from being overshadowed by the other characters in this production.
 |
| Andrew Moran (Dr Bartolo) - Shane Lowrencev (Don Basilio_ |
Among those
characters, Andrew Moran as Rosina's guardian Dr. Bartolo; Shane Lowrencev in a scene-stealing
turn as Rosina’s music teacher, Don
Basilio; David King as Fiorello; Michael Lampard as the Officer; and especially
Jennifer Black as the cook and housekeeper, Berta; all offered entertaining
characterisations; and it was fun to spot
alternate cast principals John Longmuir,
Andrew Williams and Dominica Matthews trying desperately not to be recognised while
pushing and pulling scenery, but adding their fine voices to the ensemble mix.
As is
established custom with Opera Australia touring productions, children from
local choirs are given the opportunity to participate in these productions. For
the Canberra performances, members of the Woden Valley Youth Choir proved
admiral as enthusiastic members of the community of Seville.
And finally,
the icing on the cake, the small but very fine orchestra, conducted by Luke
Spicer, which from the very first notes of the overture, ensured that Rossini’s
miraculous score was performed, not only with accuracy and precision, but as
delightfully cheekily as the composer intended.
Images by Jeff Busby
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au
