The Barber of Seville

This year celebrates the 200th anniversary of Rossini’s beloved Barber of Seville and this Opera Q co-production with Seattle Opera and New Zealand Opera reminds us what a true sparkling confection it is and why it remains as popular today as it was back in the 1800s. A perfect example of Opera-Bouffa its story of mistaken identities and secret lover’s trysts has all the elements of farce and that’s what director Lindy Hume has given us in this highly choreographed door-slamming romp.

Doors are the theme of the production with Tracey Grant Lord’s set a combination of them in all shapes and sizes and all colours which even extends to the proscenium arch which is covered in them.

It’s an irreverent production which frequently breaks the fourth wall, uses plastic milk crates and hairspray as props, and pushes a retro-fifties look with Rosina in a Lindy-hop full-skirt, Dr Bartolo with an Elvis Presley hairdo, and Ambrogio played as The Addams Family Lurch.

The cast respond to this fanciful concept with appropriate brio. Who wouldn’t love the pop-star swagger of Brett Carter’s Figaro as he entered through the theatre’s stalls with his famous “Largo al factorum” aria and proceeded to take over the show. Dynamic, personable, and side-splittingly funny in a vaudeville slapstick routine when shaving Bartolo in Act 2, it was a masterful vocally comic performance. Virgilio Marino also showed off long-hidden comic abilities as Count Almaviva switching disguise after disguise and singing with true artistry. His turn as harpsichord accompanist in Rosina’s singing teacher scene was farce at its finest. In her first major opera role Monique Latemore brought mezzo strength to Rosina, matched Marino in the farce stakes, and showed off some colourful coloratura trills when needed. It was an impressive debut. Opera Q stalwart Andrew Collis was a delight as Dr Bartolo bringing a ton of charm and fun to the role. Even when he was in his incongruous Elvis hairpiece his glorious baritone cut through the camp trappings with style. David Hibbard’s Don Basilio made a meal of his “La calumnia” aria, Emily Burke’s maid Berta did likewise with her second act solo, but it was opera virgin Brian Lucas as Ambrogio who frequently stole the show. Constantly upstaging everybody with a feather duster, he was naughty but incredibly funny.

The Queensland Symphony Orchestra was in top form under the baton of Roland Peelman, whilst the Opera Q Chorus added a sea of colour every time they appeared in their red suits.

Peter Pinne

Photographer: Steve Henry