The Barber of Seville

Melbourne Opera’s treatment of this sterling classic recalls the combination of broad comedy and gorgeous music of the Simon Gallagher/John English productions of Gilbert & Sullivan operettas.

First the good news: Greg Hocking, MO producer and conductor, and Lady Potter, MO patron-in-chief, introduced Professor Ed Byrne from Monash University who announced a partnership between MO and Monash University that will see Monash underwrite productions and MO perform at various Monash campuses. This will be a huge boost that helps both parties and allows MO to continue to produce quality entertainment like tonight’s offering.

 The Barber of Seville is a comic opera, but rarely has it been so hilarious as in this carefully judged, expertly realised staging. Director Hugh Halliday and his talented cast must have had a ball in rehearsal coming up with all the daffy disguises and diversions. Don Basilio (‘Is Don, is Good’) is a decrepit, doddery old man who locks his zimmer frame to a pillar with a bike chain. Rosina ignores Dr Bartolo by popping in her ipod earphones. Bartolo needs goggles to cope with the full face of foam Figaro doles out for his shave. Full credit to Halliday for reining all of this in so that the uproarious humour never goes over the top.

 Also securely anchoring the comic elements is the sheer quality of the music. The fact that the cast can present such distinctive, colourful characters as well as singing so beautifully is almost a miracle. Opera singers that can nail comedy must be as rare as comedians who can belt high C’s. Adding to the pleasure is the fact that the intimacy of the Athenaeum allows all of the audience to enjoy the facial expressions and finer details of the staging that would be lost in a larger house.

Equally impressive and equally vital to the success of the production is the sublime reading of the score from the Melbourne Opera Orchestra, lead by conductor Greg Hocking. This season marks the first to use the brand new orchestra pit of the Athenaeum. The gleaming wood and red velvet pit is a welcome addition to this grand old space, and the promised new seats and carpets are eagerly awaited so as to further enhance the experience. Placing the orchestra in the pit has made a marked difference to the sound quality, with the stalls now experiencing a balanced sound mix along with the dress circle and balcony. And what a glorious sound it is.

Designer Anna Cordingley has created a grand set that frames and supports the action perfectly. The streetscape has a peculiar rounded perspective that looks as if we are all spying on Rosina at her window through a telescope. The set is turned to reveal the interior with two curved metal staircases and an equally interesting viewpoint. A proliferation of fuchsia props stand out gaily against the black and white paintwork. Cordingley’s costumes add to the humour, especially Almaviva’s disguises, Berta’s transformation and Basilio’s entire countenance. Nick Merrylees has achieved the quality most desired in a lighting design – to enhance the set and the action without drawing attention to the lights. The storm sequence is particularly noteworthy.

 Baritone Phillip Calcagno is in magnificent form as the barber Figaro. Handsome and charismatic, his mischievous face sparkled throughout and his singing was superb. A truly accomplished performance. Sally-Anne Russell sang exquisitely as Rosina, achieving the full colours of the trills, runs and ornamentals of the revered mezzo soprano role. Her act one duet with Calcagno (‘Then I’m The One’) was a highlight.

Hunky David Gould was completely transformed to play the decrepit Don Basilio. His comic performance had the crowd roaring, particularly in his rumour aria ‘Calumny is a Little Breeze’. Ian Cousins was a good sport as the long-suffering Dr Bartolo, especially when sporting a face full of foam. He pulled off the role with class, focus and strong singing. Tenor Roy Best was kept busy as the scheming Count Almaviva. Although a little shaky at first, Best gave an entertaining performance that will only improve as he relaxes into the comic style at play. Inestimable treasure Margaret Haggart rounded out the cast as mostly silent housekeeper Berta who nearly stole the show with her one big aria in act two.

Melbourne Opera are traveling to more than ten locations for performances this year. Coming productions include Cavelleria Rusticana & I Pagliacci in July and Madame Butterfly in October. Sung in English, Melbourne Opera’s performances are extremely accessible and are recommended for theatre fans who might like to try opera as well for dedicated fans. The Barber of Seville plays at the Athenaeum Theatre to Sunday 21 March. www.ticketmaster.com.au