Aaron St. Clair Nicholson sings a familiar tune as Figaro, in Calgary Opera's The Barber of Seville

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The Barber of Seville by Calgary Opera
Southern Alberta Jubilee Auditorium
Southern Alberta Jubilee Auditorium
Southern Alberta Jubilee Auditorium
Southern Alberta Jubilee Auditorium
Saturday, April 25 - Saturday, April 25 Wednesday, April 29 - Wednesday, April 29 Friday, May 1 - Friday, May 1 Sunday, May 3 - Sunday, May 3

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What a rich and rare experience to be in an audience that is treated to all the nuances and humour of a comic opera masterpiece — to be transported by the cast’s deep understanding of the music and enchanted by comic characters and precise timing.

Gioachino Antonio Rossini was only 23 when he wrote The Barber of Seville, originally titled Almaviva, after the romantic lead. Director Robert Harriot’s touch on this famous opera is playful, refreshing and contemporary, but avoids cartooning the characters and events, while staging inventive choreography.

Rather than a bombastic opening, Harriot capitalizes on a plea for quiet by Count Almaviva (tenor Frederic Antoun), as he cautions the assembled musicians not to wake the household of Rosina (mezzo-soprano Kristzina Szabo). Almaviva wants to serenade and woo her, while avoiding the attention of her guardian Dr. Bartolo. Harriot creates a strong foundation to build a fascinating, action-packed romantic comedy.

Harriot’s deft hand and inventive mind never short-changes the music. His touch takes both the cast and the audience past the familiarity and surface slickness of the music by transforming its intricacies into actions. The first act finale is breathtaking, the stage filled with actors and chorus members created myriad slapstick vignettes too numerous to follow, but when taken as a whole is comic genius.

Some think you should never see the work of a director, but when dealing with such a well-known opera, an inspired director and unique interpretation is important — and noticeable. The opening night audience got more than they hoped for when Figaro (accomplished baritone Aaron St. Clair Nicholson) erased popular culture memories of his jolly boast, “Figaro wanted everywhere.”

Instead of throwing away each repetition of “Figaro,” Nicholson and Hariot’s collaboration produced a daring rendering of the aria, replete with deft choreography.

The audience erupted in the first of many bravos and extended applause.

Bass Peter Strummer is wonderful as Dr. Bartolo, a man who wants to marry his ward, Rosina, for her money. Even though Strummer has played the role in several productions around the world, his performance is fresh with energy and panache. Bass-baritone Phillip Cokorinos as Don Basillio, his co-conspirator in the marriage scheme, makes his mark with a stirring voice. Soprano Cheryl Hickman, as Berta, Rosina’s maid-turned-jailer, has her own aria filled with wistfulness and humour.

Antoun’s character sports many disguises throughout the opera. He wants to ensure his beloved loves him, but not for the power and fortune he holds as Count Almaviva. Twice he uses deception to bypass Dr. Bartolo so that he may endear himself to Rosina. Antoun’s comic timing delights and so too does the versatility of his voice — even when overlaid by nasality for one of his deceptions.

Szabo never loses command of her voice or the music, despite her character’s mischievousness, affection and anger. She holds her own, both in the music and in scenes with other strong performers.

Treat yourself to The Barber of Seville and its memorable music. It is a popular favourite that entertains and enriches its audiences.