Showing @ Festival Theatre, Edinburgh, until Sat 19 Nov
The Barber of Seville is a light opera that won’t win any awards for purging the souls of those watching. But if what is probably Rossini’s most famous opera has any notoriety about it, it’s that it really works its singers extremely hard. Full of speedy jumps, tremolos and a tongue-twisting libretto, The Barber of Seville is a prime example of Rossini’s work at its most challenging; he’s really showing off and he’s not afraid to do it.
This opera buffa has a straight-forward and fairly predictable plot typical of the Classical period. When Count Almaviva (Thomas Walker) meets the beautiful Rosina (Claire Booth), he conspires to make her fall in love with him for himself instead of his money. Under the watchful eye of her guardian Bartolo (Tiziano Bracci), the pair resort to disguise and bribery for a few stolen moments together and a chance to finally be united.
As is to be expected of Scottish Opera, almost everything about this production is of a high standard. Twice TMA Best Design Award winner Simon Higlett has created a set that is oozing with attention to detail, nodding to both shabby decadence and caricature at the same time. Director Sir Thomas Allen has made the comparatively long instrumental sections relevant to the plot which keeps the audience engaged throughout, while the continuous movement of those on stage gives the production some real energy. Walker’s portrayal of the Count disguised as Lindoro, disguised as Rosina’s singing teacher, is hilariously ridiculous, and little additions such as Bartolo’s wig or the nosey nuns adds to the comedy already inherent in the music.
A glaring problem, however, is that during the fortissimo passages it’s impossible to hear the singers over Francesco Corti’s orchestra. It’s a real shame, because judging by just how fast their lips are moving, the audience are missing out on some real flare. It’s a rookie mistake for such an experienced and well-established company to make, and the high quality so carefully considered throughout the rest of the production sadly does little to brush over what is essentially the main reason for people being there – the music.