The Barber of Seville

Published Wednesday 12 October 2005 at 13:55 by Jon Holliday

To enjoy ensemble comic acting and singing at its best, look no further than this revival of Giles Havergal’s 1986 production. The commedia dell’arte staging, designed by Russell Craig, has already made it an all time WNO favourite but this time around it reaches new heights of spot-on interaction, being not only delightfully sung but very, very funny.

On the ramshackle four-level fit-up placed centre stage, with its cramped acting areas, tricky sets of stairs, battered furniture, tatty props and desperately worn painted curtains, the company absolutely sparkle in their ‘improvisations’. The continuos byplay between the strolling players and their onstage audience who occasionally join in or stay to watch only their favourite performers, provides an added entertainment in itself.

The South African tenor Colin Lee handles his ardent courting in various disguise with the lightest of lyrical touches and comic timing, combining well with the feisty Rosina of Imelda Drumm. Andrew Schroeder is content to fit seamlessly into the tune-filled farcical romp without attempting to dominate as so many Figaros do. There are excellent cameos by Elizabeth Donovan as a surprisingly jolly Berta and Daniel Sumegi as an outrageously devious Basilio. Quite unforgettable is Eric Roberts as the funniest Bartolo it has ever been my good fortune to witness. Hilarious.

Conducted by Gareth Jones and sung in English, this co-production with Opera North and Vancouver Opera is an absolute joy throughout. Long may it continue to be so.