Review: Spirited, well-sung 'Barber' from West Bay Opera Review: Spirited, well-sung 'Barber' from West Bay Opera (February 18, 2004)

By Bryan Wiggin
Almanac Theater Critic

"The Barber of Seville" has been a hit since its premiere in Rome in 1816. Even Beethoven admired it. And the current production by West Bay Opera is a spirited and most enjoyable one.

The music by Gioacchino Rossini and libretto by Cesare Sterbini are an adaptation of what was a very popular play by Pierre de Beaumarchais.

In Seville, the beautiful young Rosina is the ward of elderly Dr. Bartolo, who keeps her confined to his house. She is serenaded by young Count Almaviva, but does not respond. Figaro, the neighborhood barber and rapscallion, promises to help win her for the count -- if he is properly rewarded. Calling himself "Lindoro," a poor youth, Almaviva serenades her again, and his singing wins her heart.

Dr. Bartolo tells Don Basilio, Rosina's music master, that he will marry her the next day. Figaro warns Rosina of the plan, and she gives him a note to deliver to "Lindoro." Almaviva comes in disguised as a drunken soldier seeking lodging, and slips a love letter to Rosina. When Bartolo demands to see the letter, she substitutes a laundry list. Police arrive to arrest the soldier, but Almaviva reveals his true identity to them and is released.

In Act III, Almaviva returns disguised as the music teacher "Don Alonso," claiming to be a substitute for the ailing Don Basilio. When Basilio later arrives in perfect health, Almaviva bribes him, and Basilio suddenly feels quite poorly, and departs. As Figaro shaves Bartolo, Rosina and Almaviva plan their elopement. Bartolo overhears them, drives the count and the barber from his house, and sends Rosina to her room.

After a stylishly staged thunderstorm, Almaviva and Figaro arrive to abduct Rosina. Basilio comes in with a notary, who has come to marry Rosina and Bartolo. Figaro misleads him into marrying Rosina and Almaviva, instead. Bartolo arrives and protests, but when the count tells him he can keep Rosina's dowry, the old man accepts his fate.

Yes, it's a busy story, and it's a credit to director David F. Ostwald, abetted by dialogue translations projected on either side of the stage, that we're able to keep pace with events.

There's plenty of action, but it doesn't become confusing.

The cast is filled with excellent voices. Especially noteworthy is the bright young baritone of Jordan Shanahan as Figaro: his performance is vibrant and attractive. Comparably good is the darker baritone of Michael Morris as Dr. Bartolo. In fact, in the expressiveness of his singing, Morris is the most accomplished voice actor in the cast.

As Almaviva, John Zuckerman has an attractive light tenor voice that he uses well, and he actually plays his own guitar accompaniment in that second serenade.

Robin De Leon and Sonia Gariaeff alternate in the role of Rosina. At the dress rehearsal I attended -- this being necessary to meet press deadline -- the part was sung by Ms. De Leon. She has a pretty tone, with good articulation and expression. Only in her very loudest notes does her voice reach out like a flame, scorching the ears a bit.

Good singing and acting also come from John P. Minagro as Don Basilio, John Burton as Fiorello, and Constance Howard, who gives vivid character to the housemaid Berta.

David Sloss draws generally good playing from the orchestra in the pit. The small complement of strings enables the wind instruments to emerge with a welcome vividness; and the strings' occasional disagreement over which note they should be playing lends a rustic charm to the sound -- the sound of a provincial opera house.

Jean-Francois Revon has created a beautiful setting, with the town of Seville evocatively seen in the distance. There's a rich variety of costumes from Callie Floor, and excellent, supportive lighting from Steven B. Mannshardt.

This "Barber" is well sung, well staged, and -- without splitting hairs -- well worth seeing.

INFORMATION

"The Barber of Seville," with music by Gioacchino Rossini and libretto by Cesare Sterbini, is being presented by West Bay Opera at the Lucie Stern Theatre, 1305 Middlefield Road in Palo Alto. Performances are at 8 p.m. Friday and Saturday, February 20 and 21, and 2 p.m.
Sunday, February 22. Admission is $43 ($21.50 under 17 on Sunday only). Call 424-9999, or go to www.wbopera.org.

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