My latest offering is another opera review – and I hope you’ll forgive my rather naive critique. Of course, everyone is a critic – but knowing why something is good – or “exceptional” is sometimes difficult to articulate. Hopefully my critical prowess(!) will improve over time as I am now studying for an opera degree with Bruford College which will no doubt hone my analytical skills!
For a splendid evening’s entertainment, it would be very hard to beat the English National Opera’s revival of Jonathon Miller’s production of The Barber of Seville which is currently running at London’s Coliseum (27 September 2008). The cast was simply superb, delivering the full potential of this hilarious opera buffa without ever detracting from Rossini’s sublime scoring. Miller’s production has certainly stood the test of time since its first run back in 1987. The revival, directed by Ian Rutherford was a vibrant and delightful gem.
There were too many visual jokes to mention and, as one might expect of ENO, there was plenty to keep the audience entertained throughout the not insignificant length of this opera. Chorus interactions were nicely handled – never undermining the main action but adding colour and wit to the proceedings.
The plot’s innamorati were nicely matched: John Tessier(as Count Almaviva) was convincingly ardent and Anna Grevelius, pretty as a picture as Rosina, was splendidly animated and played beautifully to the contrasting traits of her character: sweet damsel in distress yet verging on psychopathic bunny-boiler when not getting her own way! With fabulously clear diction, she and the rest of the cast made the surtitling somewhat redundant.
Garry Magee in the title role of Figaro, carried the part well with plenty of presence and sang beautifully, with conviction, swagger and a touch of cynicism. The famous Largo al factotum aria was well-handled, but orchestra and singer did come slightly adrift at one point. The ensemble work was splendidly done with some brilliant interaction and some beautifully directed tableaux – perhaps none more so than the Act 2 elopement scene (where the ladder is removed from the balcony before the young lovers can make their escape).
With such a wonderful cast, it’s hard to single out one individual, but Andrew Shore, playing the scheming, pompous and rather foolish Dr Bartolo, was utterly convincing, acting with a fine sense of timing and singing with absolute precision. Indeed he acted the part with such sensitivity and paradoxical sincerity that at times, it was hard not to feel slightly sorry for Bartolo.
Brindley Sherratt’s wonderfully caricatured Don Basilio was thoroughly unpleasant, calculating and creepy - a perfect foil for Shore’s anxious Bartolo. Reassuringly, we could still enjoy laughs at his expense with some light-hearted touches (such as Bartolo having to duck under Don Basilio’s enormous hat) - clear homage to Commedia dell’Arte slapstick rather than the wittier humour of Cesare Sterbini’s original libretto. Sherratt’s rich bass voice had a clean and solid quality that was perfect for underpinning the ensemble singing.
Just looking at Rory Mcdonald (making his conducting debut with ENO) made me feel really old (and not just on account of his energetic style!) and he must take credit for a very nicely balanced sound which never once swamped the singers or lost Rossini’s sparkle.
The English translation (by Amanda and Anthony Holden) was typically “ENO” - favouring the modern vernacular. Although one or two phrases grated slightly and left me wishing for something more elegant, there was no doubting that the librettist’s original intent was well-served and the audience certainly enjoyed the accessibility and some of the more topical touches.
This is a real gem of a production – go and see it if you can!
