The Barber of Seville

Written by Gioacchino Rossini

Directed by Teresa K. Pond

Conductor David Rosenmeyer

Bleecker Street Opera

45 Bleecker Street

212-239-6200

www.bleeckerstreetopera.org

 

Review by Lucy Butcher

 

At a time when many theater companies are closing their doors, the Bleecker Street Opera is just beginning its life. And judging by its second production, a lively rendition of The Barber of Seville, Gioacchino Rossini’s much-loved 1816 Italian comic opera, the future looks bright.

 

In Seville, Spain, the city’s factotum, Figaro, advises Count Almaviva to disguise himself to win the love of Rosina, who’s trapped by her controlling guardian, Dr. Bartolo. It’s a 200-year-old love triangle that’s as relevant as ever, with clandestine love letters rather than text messages flying around. Without lavish costumes or sets, just a flimsy house façade chaotically erected by Fiorello and friends in the opening scene, the Bleecker Street troupe carries off the production with its energy, fiery singing, and comedic sensibilities, taking the audience on a rollicking ride.

 

An incarnation of Amato Opera, which closed last year, the Bleecker Street Opera gives singers of varying skill and experience the opportunity to perform. Baritone William Browning makes a strong entrance as the cocky Figaro. In the popular aria “Largo al factotum,” which has been parodied in many animated cartoons, he sings about the joys of being a barber of quality, and what a merry life he has.

 

Soprano Jordan Wentworth Farrar brings an extra dimension to the demanding role of Rosina, a hysterical woman teetering on the edge: She warns that “if you touch my weak spot, I become a viper.” Bass-baritone Ivan Amaro makes a possessive Dr. Bartolo, who works himself up into a babbling mess as he threatens to lock up Rosina for good.

 

Tenor Anthony Daino, the hopelessly lovelorn Count Almaviva, shows off his comic talents in various disguises designed to fool Bartolo. But perhaps the star of the production is lanky bass Nathan Baer as the dubious-looking, black-clothed Basilio, who fuels Bartolo’s suspicions about the Count in “La calunnia è un venticello,” which he sings with great nuance, flexibility and vigor.

 

With so much gusto exuded by the performers, the Bleecker Street Opera’s Barber of Seville seems to have more of an Italian flavor than a Spanish one. And though Rossini’s well-known score was performed a little shakily at times by the orchestra, and a few singers lost their lines, this production is fun and engaging, and offers a spirited take on a timeless opera.