NZ Opera Presents: The Barber Of Seville
6th June 2019
ASB Theatre, Auckland, New Zealand.
Review by Sarah Kidd. Photography by David Rowland.
New Zealand Opera has unequivocally outdone themselves this season, chasing away the cold, damp tendrils of winter with their vivaciously kaleidoscopic production of Gioachino Rossinis’ comic opera The Barber of Seville.
Co-produced with both Opera Queensland and Seattle Opera, and with the Auckland Philharmonia Orchestra once again under the charismatic conductorship of Wyn Davies, The Barber of Seville is a sumptuous feast, colourful morsels to tempt the senses awaiting around each and every corner of one of the most elaborate and sagacious sets that has ever been constructed in recent years.
Designed by the rather talented Tracey Grant Lord – whose personality and style are also splashed across the costumes that dance across the stage – the set is a series of intricate doors, crawl spaces and windows through which the cast ebb and flow like fluid, allowing the story to progress swiftly. Small touches such as ornate wallpaper, mini lampshades and a somewhat magical main entrance through which all manner of surprises come and go, feed into this captivating tale of our Barber come match-maker Figaro.
And what a Figaro Australian Morgan Pearse is! Dressed in a purple two piece that would have made even the iconic Prince envious, Pearse was both audacious and fleet of foot as he made his way to the stage in a completely unpredictable but hilarious way. Last year he played Belcore in Donizettis’ The Elixir of Love, this year, baritone Morgan Pearse is hands down an operatic rock star, his animated performance claiming both eye and ear.
Rossini’s opera may now be almost two hundred years old, but it’s story, (often referred to as The Useless Precaution) of adoration and confusion which culminates in a happy ending for almost all parties involved is one that many generations can relate to in some small way.
Performing the role of Count Almaviva is the beautifully versatile Canadian tenor John Tessier, whose acting carries the story with such composure that you are rooting for him to get the girl from beginning to end. The lovely American mezzo-soprano Sandra Piques Eddy as both Almaviva’s and Dr Bartolo’s love interest Rosina embraces the diversity of the role as she attemps to stay one step ahead of her elderly guardian Dr Bartolo who has plans to marry her himself. Falling in love with ‘Lindoro’ (Count Almaviva in disguise) Eddy projects a youthful enthusiasm with vigour, a little too much of that power coming through on ‘Una voce poco fa’ where the edges of the upper notes were just a tad cutting.
While Andrew Collis shows off his versatility in the role of Dr Bartolo, it is his partner in crime Egyptian born Ashraf Sewailam playing the rather dapper Don Basilio that often steals a scene or two; Sewailam’s baritone vocals adding a wonderful texture to the constantly conniving character of Basilio, as he camps it up just enough to pull the corners of your mouth apart that much wider.
But it is the secondary tale of endearment weaved beneath that of Lindoro/Almaviva and his beloved Rosina, that is the cherry on top of this illustrious production; that of Dr Bartolo’s house staff Ambrogio and Berta. Jesse Wikiriwhi’s physicality whilst playing Ambrogio adds a joyous visual charm to the opera that would not normally be seen, his vivid green feather duster and electrified hairstyle that would have been quite at home in Rocky Horror Picture Show the source of much amusement as he popped up in the most unexpected places. Morag Atchison as Berta brings forth an early air of malice that shifts about the stage on the back of her cigarette smoke; later her envy tinged with understated loneliness as conveyed through a stunning rendition of ‘Il vecchiotto cerca moglie’ melted hearts, the eventual union of Berta and Ambrogio eliciting rapturous applause from the invested audience.
Split into two acts and performed in Italian with English subtitles, the first act does feel a touch on the lengthy side, however the calibre of the cast and ever evolving story cocooned within the detailed set pieces keeps the pace moving; lighting director Matthew Marshall producing some of the most spectacular and inventive effects that a New Zealand Opera has ever presented, especially during a group scene where they provide the bittersweet taste of the characters manic overload.
From Morgan Pearses’ delightful rendition of the infamous ‘Largo al factotum’ through to the exuberant finale that explodes across the stage in bursts of colour, The Barber of Seville is like lightning in a bottle.
Were you there at the ASB Theatre for this magnificent comic Opera? Or have you seen The Barber Of Seville performed somewhere else before? Tell us about it in the comments below!
If you enjoyed this content, please consider donating towards the running of Ambient Light, covering expenses and allowing us to expand the coverage you love by visiting our PressPatron page.