Given that Toronto is going through a particularly harsh winter, we have the Canadian Opera Company to thank for providing just the right winter tonic – two surefire hits of the standard repertoire. Rigoletto, the Verdi gem, opened to uniform praise on January 25th. Last evening was Rossini’s turn, with the opening night of the immensely popular The Barber of Seville. The Four Seasons Centre was jammed, and the audience was extremely receptive. No doubt it was just the vehicle to banish the winter blues, and I understand that both shows are selling out fast.
I have very fond memories of this production by Spanish director Joan Font, first seen in 2015 and revived in 2020. Seeing it now for the third time, it’s still as fresh and engaging as ever. The colourful sets and costumes by Joan Guillén are equally pleasing to the eye.
Very much an ensemble show, there are eleven actors in addition to the singers for added dramatic effect. The choreography is clever and very well-rehearsed, down to every nuanced gesture. The COC has assembled a youthful and strong cast without a weak link. Interestingly, several singers were winners of the Plácido Domingo’s Operalia singing competition in the last few years, which underscores the power of winning competitions when establishing a career.
Photo Credit: Michael Cooper
Deepa Johnny (Rosina) and Dave Monaco (Count Almaviva in disguise as the music master)
American Luke Sutliff (Figaro), Operalia Second Prize winner in 2023, showed off a warm baritone with an impressive top and excellent agility in “Largo al factotum.” Also wonderful was the beautiful lyric mezzo of Canadian Deepa Johnny as Rosina. To my ears, her light timbre and ease at the top is almost in soprano territory. She is paired with Italian tenor Dave Monaco, a 2025 Operalia winner. His compact tenore di grazia and generous top register made him an ideal Count Almaviva.
Italian baritone Renato Girolami as Bartolo was a holdover from the 2020 production six years ago, making a big sound and acting up a storm. A surprise was veteran Italian baritone Luca Pisaroni, last seen three seasons ago as Figaro in The Marriage of Figaro. He is now branching out into character roles, and he sang a hugely enjoyable Basilio. Also noteworthy was the COC debut of Canadian mezzo Ariana Maubach as Berta. Maubach seized her single moment to shine by offering a lovely “Il vechiotto cerca moglie.”
Last evening marked the COC debut of Serbian conductor Daniela Candillari, who led the orchestra in a high energy, well-paced performance. From the first downbeat of the overture, we knew we were in for an exciting evening. There’s a lightness of touch in her conducting that is ideal in Rossini, capturing the spirit of the work perfectly. I hope the COC will bring Maestra Candillari back in future seasons.
Photo Credit: Michael Cooper
American baritone Luke Sutliff in the title role as the barber
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