Can I Get A Refund?
By Jessica Lin
Reproductions of Rossini’s operas are trendy all over the world. The Barber of Seville is one of Rossini’s best comedic operas. A well-courted lady, Rosina, locked in a house by her guardian Dr. Bartolo who wants to marry her, and a disguised Count of Almaviva must overcome obstacles to unite their love. They are aided by the trusted and reliable help of the city’s barber, Figaro, starring Rodion Pogossov, a witty character with connections all over Seville. Bartlett Sher’s production of The Barber of Seville is performed in Italian at the Met Opera in Lincoln Center.
As a first-timer, the opera of The Barber of Seville was a decent but not an extravagant performance. The female lead Isabel Leonard, as Rosina, delivered a slightly disappointing aria. Perhaps I am guilty of first watching two extremely well sung online clips of Rosina’s aria, but Leonard simply did not compare. While she was sweet and soft, this Rosina was unable to display the turning point of her character where she changes from an obedient lady to a rebellious lady because of love. Leonard’s voice was steady and soft throughout without much noticeable modification into a bold and strong voice when she reached the turning point of her aria. The rest of the cast followed in similar manner. Bartolo, played by John Del Carlo, held a deep but un-projected voice, making it difficult to hear him at times.
Set designer Michael Yeargan enlivens the stage. Transition in set design was smooth and consistent. The stage was charming in its simplicity, consisting mostly of several moving doors. It assisted in adding a comedic touch sending the audience into several chuckles; when Figaro, the barber of Seville, knocked on one of the doors it slightly opened and a guitar automatically popped out through the crack to him as if appearing by his wish. A live tamed donkey was even brought on stage and fed carrots by the cast! Figaro’s ‘barber shop’ served multiple purposes, which he rode in on during his opening scene.
The traditional approach in costumes was no surprise – the cast consisted of dull colors in red, orange, yellow, and brown. The starring lady, however, wore a blue dress and pink dress that were appealing to the eye.
Much of the opera depended on Dr. Bartolo’s servant, Ambrogio, to entertain its audience. The comedy of the opera relied on the clumsiness and sleepiness of Ambrogio – he constantly stumbles over things, falls on the floor, and is the helpless victim of unfortunate events.
The experience was partially enjoyable to say the very least. But this enjoyment was more drawn in by the atmosphere and environment of the theater than the opera itself; the cast desires slightly more charm and spark.
