Il Barbiere di Siviglia

Barber of Seville goes semi-modern
Godfather meets Three Stooges

Last year The Met launched a new production of Barber of Seville. I already watched a filmed version on Channel 13 during their New Year's Day opera celebration (wonderful way to start the year!). I worried about the staging, with the singers often walking out and around the orchestra via a wrap-around platform. Up in the Family Circle, I often can't see the conductor so having the singers step that much into the foreground meant there was a strong possibility that I wouldn't be able to see them. I was right. And with the annoying woman in front of me leaning forward throughout most of the performance, this made sightlines worse.

Frederic Chaslin conducted a rather smallish sized orchestra. What they lacked in number they made up for in performance. While the singers started off rather weak in the first act, they warmed up after awhile. Jose Manuel Zapata sang the tenor role of Count Almaviva but seemed more interested in the acting and humor involved in the role. Elina Garanca delievered the mezzo-soprano notes as Rosina and her voice seemed to be having as much fun as here character, playing and bouncing around the men. Franco Vassallo filled the shoes and voice of Figaro, the barber. At first I was rather frustrated by the performances but they did seem to get better and really relish the final act. The story is a simple farce. The Count pretends to be someone else to serenade and woo Rosina. Her old fogie guardian is trying to wed Rosina and keeps her under lock and key, literally. Soon the Count is acting like her music teacher, kitchens are exploding, orange trees are getting chopped down, ladders get moved, and arrests get confused. Of course love must conquer craziness in this fun and light opera.

While the bright and spare sets still hark back to days of old thanks to doors, moulding and decor complimented by period costumes, at times all the space makes the goofy pratfalls seem loud. And I really was annoyed with all the moving out into the audience, around the musicians. But the performances and productions grew on me and I left happy, tapping my feets and humming a happy tune. Is it "Largo al factotum" or that tune from Bugs Bunny? Silly rabbit, Rossini is for kids.