Tragedy then comedy. Opera Holland Park opened its 2024 season with a well-received revival of Tosca and wisely chose to follow that high-octane drama with a piece that has far lower stakes, Rossini’s Il barbiere di Siviglia – though plenty of soldiers abound in both!
There have been a few slightly stale Barbers recently and it is gratifying to report that Cecilia Stinton’s new production manages to capture all the merriment and pizzazz of one’s first viewing of the opera without stretching to simple absurdity. It helps that the set design – entrusted to Neil Irish – sparkles and is ideally suited for this unique venue. As the overture plays, we see on the apron at the front of the pit a café within which we are given a snapshot of Sevillian life, while behind the pit lies the gorgeous fronting of Dr Bartolo's residence. After the interval, the café setting is switched for Bartolo’s well-appointed drawing room. Despite the open space, Irish creates a sense of intimacy, bringing us into the room and diminishing the barrier between stalls and stage.
Liberties are taken with both setting and libretto: Bartolo here is an inflated British archaeologist (his doctorate is archaeological) who wanders round in tweeds deploying a faux ‘Brit abroad’ accent from his ostentatiously sunburned face while a portrait of Queen Victoria glares disapprovingly at the Mediterranean hanky-panky. Purists may hate it, but this production has that most important of comic opera virtues – it’s fun. Robert Price’s lighting is sensitively judged, but it is Stinton’s thoughtful and organic direction that makes this production shine. Her direction is tight and character interaction is organic and credible, with no-one left awkwardly to the side.
Fighting valiantly to keep the sunny atmosphere of Spain in an audience somewhat apprehensive of the gales blowing rain through the coverings, the cast delivered an entertaining performance on Tuesday's opening night. Standing out for sheer vocal beauty, Heather Lowe found in Rosina an excellent opportunity to display fine coloratura and a particularly appealing lower register. Lowe commanded the stage, a mere twitch of the lip enough to convey scorn or mirth, while her chemistry with Almaviva sizzled. Elgan Llŷr Thomas sang the Count with elegant phrasing, showing a clean tenor voice with well-integrated registers. His more thoughtful, earnest manner early on in Act 1 soon gave way to a riotous performance in Act 2; significantly, he also gave us character growth, from awkwardness to strong confidence by the end of the performance.
Stephen Gadd’s florid Bartolo was a staid figure on stage; Gadd’s baritone at times seemed slightly overwhelmed in its lower reaches and didn’t quite fizz on the first night. Paul Grant was an energetic Figaro, always ready with a smile and showing obvious charisma; his was not a barber who would struggle to win over Susanna in a couple of years. A little more focus on line would have been welcome; Grant does not immediately seem to have a vocal profile naturally suited to bel canto, but it’s a confident and memorable voice.
OHP struck lucky in its casting of Basilio and Berta. Jihoon Kim impressed me in a couple of Chelsea Opera Group performances almost ten years ago and the rich sonority of his bass has only improved. He is a naturally serious figure, which made his avaricious turn as Basilio – here more than happy to run along with the “illness” fabrication in exchange for some cash – all the more entertaining. Janis Kelly is no stranger to Berta; from lustful glances at younger men to wry smiles as the Bartolo household descends into disarray, Kelly always impressed. A good cast can always be let down from the pit, but Charlotte Corderoy – a former OHP Young Artist Conductor – led a performance that romped along. Dynamic, yet sensitive when necessary, Corderoy showed a knack for Rossini and credit to her for getting involved with the fun, stepping aside to let Almaviva seize baton and podium in his Alonso disguise – a moment that encapsulated the good-natured fun and merriment of this excellent new production.
