Before the beginning of each opera, an announcement is made reminding the audience not to film, photograph, tweet, post, google, snapchat... Komische Oper Berlin premieres a hilarious Barber of Seville where the singers do nothing but just that. Russian director Kirill Serebrennikov gives Berlin a wonderful musical portrayal of the digitally indigenous Generation-Y. Rossini's effervescent music suits a ceaseless and furibund communication via eighty-character messages and emotive hieroglyphics astoundingly well. No photo? It did not happen. Overture too long? “Speed it up please, Maestro Manacorda”. A stereotypical millennial penchant for impatience, cell-phone obsession, selfies and self-documentation fill the production, which truly gives one pause for thought – when not laughing at the brilliant comedy of it all.
The performance begins with an anxious but oh-so-hip Denis Milo as Fiorello pacing the stage on which the casually dressed orchestra is assembled. His tenor-diva employer, (Count Almaviva), arrives, but finds the six minute overture too long and must nap. 'Quiet please Maestro Manacorda'. The chorus, which has been brilliantly disguised within the orchestra, (itself brilliant), then surprises the audience as they begin to sing - brilliantly. What a pleasure. By now it is clear that a night of amusing surprises awaits the audience.
The engaging stage construction allows a good deal of the action to occur in front of the orchestra pit. Dominik Köninger uses this to great advantage as Figaro and the audience enjoyed his full frontal baritone, which filled the hall wonderfully and charmed throughout. Tansel Akzeybek's Count Almaviva showed us a great pair of legs while dressed as a Conchita Wurst lookalike for the music lesson! His coloratura was more of a feint than an actual performance, although it did improve as the night went on. Nicole Chevalier's Rosina gave us the best coloratura execution of the night, but her tone was more mature than one would expect from the innocent ward Rosina. Perhaps, having seen and chatted about all things imaginable on social media, a more worldly tone from Rosina was perfectly appropriate. This Rosina's innocence was long gone.