The Barber of Seville

The Barber of Seville is the jewel in Opera Australia’s crown – a seamless and sublime blend of words, music and production.

This is THE opera to take someone a little reluctant on the art form.

It has none of the less attractive features of opera. No-one is stabbed, strangled or commits suicide.  There are no moments of unnecessary repetition. The narrative is purely comedic and has not dated. The tunes are joyous and plentiful. Even the overture is an exciting event.

Extraordinary to think it was whipped by 24 year old Rossini in a few weeks, winning praise from Beethoven, who as a contemporary of Rossini, urged him to make more Barbers.

The set for this Opera had its first outing in 1995. The company has been wise not to update or discard it. It remains fiendishly clever. Elijah Moshinsky set the production in 1920’s and draws upon popular archetypes from silent films of the era.

Among the delights are a miniature terrace streetscape with puppets, a visual gag in the barber shop, a bicycle on a windy street, and the delicious interior of a two storey Doctor’s residence allowing for many magical moments of comedy.

The cast was exceptional, providing one momentous highlight after another.

In the lead as Figaro (Figaro, Figaro, Figaro!) is Italian opera star Paolo Bordogna, earning a well-deserved rapturous ovation for his scene in the barber shop.

Two other principals received similar towering ovations for their best arias, Kenneth Tarver (Count Almaviva) and Anna Dowsley (Rosina).

Warwick Fyfe mastered the murderously difficult baritone role of Dr Bartolo. The tongue twister "Signorina, un'altra volta" in particular was a delight.

Minor principals too provided many moments of comic relief, with one member of the Doctor’s staff looking like he walked out of the Addams Family.

This a production that deserves to be bottled.

David Spicer

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