Calgary Opera’s final offering of the main season is a fun-filled, exuberantly joyous production of Gioachino Rossini’s The Barber of Seville. With a cast of singers largely new to the city and a setting in a never-never-land of silly walks, this is not a production that takes itself seriously. Rather, the stereotyped figures are accepted for what they are — stereotypes — and the entire production exploits the full range of comedy behind Rossini’s imperishable music.
Playing the opera in a correct, historical manner can easily seem stodgy these days — after all, the ancient regime is now completely of the past. And updating it to, say, Philadelphia of last Tuesday makes no sense. Instead, this production is set in a fantasy land of sheer comedy. Old-world tradition still there, but now with a chorus line, a thinly veiled Elvis impersonator, and a barber who knows it all — all points of reference of comedy for a modern audience.
The story is well-known — a rich count enlists the town’s famous barber, Figaro, to help him win the love of Rosina, the young ward of Dr. Bartolo. Bartolo has other plans to marry her off to collect her dowry, and drags music teacher Masilio into the scheme.
The production is local, with sets by Scott Reid and costumes by Heather Moore. Much care has been taken over the costumes, which contributed significantly to the comedic tone of the production. In conjunction with Elizabeth Tarhan’s expert, clever stage direction and Daniela Musca’s clear-minded direction of the orchestra, the production is excellently unified in concept, clearly the result of much careful planning. The freshness of the concept and execution could not be missed.
Zoe Pepper, Eswina Ngai, and Grisha Martirosyan (Figaro) in Calgary Opera’s The Barber of Seville. Photos, William Hosier
Except for Edmonton’s John Tessier, the principal singers are all new to Calgary audiences. Grisha Martirosyan as Figaro has the perfect high baritone for the part, and all the braggadocio on stage the part needs. Handsome and commanding, he is truly the barber of quality, as he sings in his famous opening aria, delivered with authority and great humour. Aside from his famous opening aria, Martirosyan participated in the action and in ensemble music with skill, never losing his fundamental sense of character. This was a stellar performance.
Siphokazi Molteno from South Africa is the production’s Rosina, a demanding role with much florid music and requiring a wide range. Accomplished vocally, she had no difficulty in managing her equally famous opening aria. Her performance was marked mostly by superb singing, the comedic element slightly subdued. This is a very good part for her and is certain to become a bread-and-butter role as her career goes forward.
Dion Mazerolle (Dr. Bartolo) in Calgary Opera’s The Barber of Seville. Photos, William Hosier
As a comic tenor in this high-lying role, there is a perfect match between role and singer with John Tessier, surely Canada’s leading tenor in roles of this type. Of the performances he has given in Calgary, none is better than this; the singing is idiomatic and with an ability to ham it up second to none. The eye was irresistibly drawn to him whenever he was on stage. This is the strongest performance of this role in all the performances of the opera mounted over the years.
The two comic basses, Doctor Bartolo and Don Basilio, are also new to Calgary, and both delivered what was needed in these stock roles: Dion Mazerolle was very fine on stage as the bumbling, outwitted non-villain, and Adam Lau as an unusual Basilio, but effective as the oily man of slander and innuendo. Both made the most of their well-known arias in the first act. The other secondary characters are strong as well, especially Berta, the servant, who gets a very funny aria in the second part, of which she made the most. Ryan Nauta’s pairing with her as the male servant Ambrogio was excellent, as was George Theodorakopoulos as the Sergeant.
As mentioned, the production was well conducted, including the famous overture, and the Calgary Philharmonic played cleanly and responded quickly to the needs of the singers. As productions of this opera go, this had as much fun and merriment as the best. Nothing is serious here. No lurking undertones. Just plain fun in the manner associated with Rossini, whose melodies and undercurrent of self-deprecation are everywhere. Laugh and the world laughs with you. The capacity audience gave the opening night performance long applause and a standing ovation.