Even non-opera fans have probably heard a melody from Giaccomo Rossini’s 1816 opera “The Barber of Seville.”
“Tom and Jerry” and “Looney Tunes” famously parodied parts of the opera, complete with Bugs Bunny on stage singing the famous refrain “Figaro, Figaro, Figaro.”
So, it makes sense that the Minnesota Opera’s original 1995 production of “Seville” is still performed to this day.
Based on French playwright Pierre Beaumarchais’ 1775 play, the plot is pretty easy to follow despite being performed entirely in Italian with English supertitles projected above the stage. Set in Seville, Spain, Count Almaviva (Lunga Eric Hallam) loves Rosina (Katherine Beck), the young ward of old and grumpy Doctor Bartolo (Matthew Anchel), who schemes to marry her. Almaviva hires local barber Figaro (Takaoki Onishi) to help him win Rosina’s heart. The roles of Rosina, Almaviva, Figaro and Bartolo are double-cast; I saw the opening night cast.
The production immediately justifies its repeated existence with its hilarious opening scene, which employs over 20 chorus members pretending to play their instruments. Director Chuck Hudson makes his experience studying at the International School of Mime-drama in Paris indispensable here.
Speaking of indispensable, Onishi’s “Largo al factotum” in the same opening scene is not only delivered with musical virtuosity, but with confident and charismatic stage presence. The role of Figaro is challenging musically and acting-wise. Figaro acts as the audience’s eyes through all the drama, and Onishi navigates this well as the standout of the production.
It also helps that “Seville” is so well-known in opera canon. Most of the performers have probably performed in a production before or studied its famous melodies in music school. The company eases into the material easily, aided by the impeccable creative elements of the production.
Costume designer Matthew Lefebvre’s costume for Rosina’s music teacher Don Basilio (Stefan Egerstrom) is particularly hilarious, and Egerstrom brings a delightful sass to the role that one wouldn’t expect for an opera that premiered over 200 years ago.
Scenic designer Allen Moyer creates optical illusions with painted drop curtains for different locations in the production. It’s a classic theatrical set design complete with a rake stage.
As for the orchestra, conductor Christopher Franklin skillfully leads the 41-piece group through some of Rossini’s most famous melodies, even if the overture read a bit quiet from my seat in the orchestra. Also, some of the Italian diction got lost in Rossini’s most wordy and fast parts of the opera.
Hudson’s only misplaced moment here is a musical interlude before the last scene in Act 2. He turns the couple of minutes of music into a scene-setting mime experience depicting rainy weather. Chorus members do their best to mime wind tearing away their umbrellas, but it feels out of place and slows down the momentum of the show.
Ultimately, “Seville” is a master work due to all of the creative geniuses who put it together, so the performers can’t help but succeed. It’s easy to see why this particular production has been requested by other companies across the U.S. It’s some of the most accessible opera in the entire pantheon, so don’t miss it.
“The Barber of Seville” plays at the Ordway Center for the Performing Arts through May 18.
Anya Capistrant-Kinney can be reached at capi2087@stthomas.edu.
