How does one find a new way to make an old operatic chestnut new? For Calgary Opera, its new production of Rossini’s The Barber of Seville offered a fresh cast of singers almost entirely new to the city, a home-grown set and costumes, a stage director with predominantly theatre experience and a new conductor in pit. And it worked.
This is the fifth production of this opera for the company, and it was the most silly-funny of all the productions I have seen across the many years. While the set was in some vague way derived from the period of the opera, the costumes and the staging were from never-neverland, a place where ancient regime tradition and disco easily and naturally meet. All this and more were suggested by the costumes, which were not from any specific period but were tailored to suit the fundamental character of the roles as envisioned by the stage director, even for the secondary roles.
Count Almaviva was played, mostly, as a type of non-serious fop, and Don Basilio, the music master, came straight from the world of disco. Even the chorus of soldiers drew from the spirit of the Rockettes. Figaro was played as a man of self-congratulation in the Italian-Spanish manner with an ever-ready smile, traditional for this role, perhaps, but with a measure of self-parody.
The point here, well-made throughout the entire production, was that this was an opera of light comedy, of fun and fancy – nothing to be taken seriously. For the capacity audience on opening night, the manner of the production and its execution certainly worked. Attention was rapt, and the response at the end everything a performer might wish.
The set design was by Calgarian Scott Reid with costumes by Heather Moore, both experienced in this type of work. The costumes and stage action as concept were extremely well integrated, the action on stage matching how the individual characters looked. This was clearly a production with much planning and care, all to make the result seem natural and effortless.
In her debut with the company, Elizabeth Stepkowski Tarhan directed the onstage traffic with a fine flow of movement but also gave space for the singers to deliver their famous arias without pointless intrusion. There were many clever touches for the chorus, especially in the first act finale and in the second act, and there was a wonderful rendition of the singing lesson scene, with tenor John Tessier at his comic best.
Photo Credit: Benjamin Laird
Dr. Bartolo (Dion Mazerolle) and Don Basilio (Adam Lau) in Heather Moore’s colourful costumes
Daniela Musca’s straight-forward, clear-minded direction of the orchestra and the singers presented a unified view of the music. The Calgary Philharmonic Orchestra played cleanly and crisply, including in a fine rendition of the famous overture. The freshness of the concept and its execution could not be missed.
With the exception of Edmonton’s John Tessier, the principal singers were all new to Calgary audiences. Grisha Martirosyan as Figaro has the perfect high baritone for the role and all the braggadocio onstage the part needs. Handsome and commanding, he was in his element in this role, both vocally and in the stage action. Impressive in his high Gs and even As, he was a barber of quality, as he sang in his famous opening aria. This was a performance no less successful than Russell Braun’s previous performance – a signature role for both baritones.
Siphokazi Molteno from South Africa, also a newcomer to the Calgary operatic stage, was the production’s Rossini. Vocally accomplished, she had no difficulty with florid writing, and she had mezzo strength when required. Her “Una voce poco fa” was all it needed to be, and she was a strong vocal presence throughout the entire production. Less comedic than her counterparts, she nevertheless was a major asset.
As a comic tenor, there is likely no present Canadian tenor to match John Tessier in this role, one tailor-made for his voice and ease in comedy. Of the performances he has given in Calgary, none has been better than this, his singing joyous and clear, and he has an impressive ability to ham it up. His is the strongest performance of this role in all the performances of the opera I have seen over the years.
The two comic basses, Doctor Bartolo and Don Basilio, were also new to Calgary. Both singers sang very well, if not being very deep basses. They delivered fine performance of these buffo-basso roles: Dion Mazerolle effective as the bumbling, outwitted non-villain, and Adam Lau an unusual disco Basilio, but nonetheless successful as the oily man of slander and inuendo. Both made the most of their well-known arias in the first act.
The secondary characters were strong as well, notably Kelsey Ronn as Berta. Her aria in the second act was very funny, and there were many high jinks with Ryan Nauta as Ambrogio, the male servant. George Theodorakopoulos rounded out the cast as the easily intimidated Sergeant.
As productions of this opera go, this production had plenty of simple fun and merriment and was a happy way to round out a remarkably successful season of opera in Calgary. The capacity audience gave the opening night performance long applause and a standing ovation.
Photo Credit: Benjamin Laird
Siphokazi Molteno was a “vocally accomplished” Rosina
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