Wednesday, August 10, 2005

Barber of Seville is opera for Everyman

Brandy Slagle News-Bulletin Staff Writer; bslagle@news-bulletin.com

Santa Fe There are some operas that, even if you are not a wild fan of the craft, make you admire the performers' competence.

The Barber of Seville is such a show.

The Santa Fe Opera's comedic show of the season offers audiences a fast-paced, high-energy journey through the antics of Figaro, Rosina and Almaviva.

Count Almaviva, a wealthy man from a noble family, has fallen desperately in love with Rosina from afar. Attempting to woo her, he serenades her underneath her window with a company of musicians, to no avail.

Devastated by his failed attempts, Almaviva greets Figaro, a former servant who he is sure can help him win her heart. Like many shows written as a comedy of errors, Almaviva cloaks his true nobility in a shroud of mundane poverty to assure that Rosina will love him for himself and not his wealth.

Gioachino Rossini's script takes the audience through mistaken letters, identities and marriage contracts, all with a light-hearted, jovial score that keeps audiences bouncing their heads and tapping their feet along almost helplessly.

Kristin Chavez stood in for Ana Maria Martinez for the opening night performance as Rosina. The Albuquerque-based singer not only tickles the lighter notes but can sustain a deep lower register as well. Her acting is as skilled as her singing, making her Rosina a powerful force. It is easy for the audience to see her lovely and commanding presence weave a love spell over Almaviva.

Bruce Sledge, who plays the lovestruck Almaviva, is an affective, awkward young suitor. While his vocal performance cannot match the likes of Brian Leerhuber's Figaro, Sledge offers the audience a tender and vulnerable romantic, who can skillfully pluck at the strings of his guitar and sigh deeply for the love of his ideal lady.

Certainly Leerhuber, as the title role, holds the standout performer title for this production. His Figaro is well timed in comedic wit, a skill taken for granted much too often, and poses great mastery over the bouncing notes of Rossini. "Largo al factotum," an epic aria, rolls and trills from baritone Leerhuber effortlessly and delicately.

Bartolo, played by Dale Travis, and Basilio, played by Wayne Tigges both deliver strong character performances with appropriate vocal force.

The set, although one of the less complicated and intricate designs for SFO, is fitting to the often breakneck plot twists of Barber. A warm, chestnut-hued stage accented by white flourishes of suggested plaster is spare, but allows the action to move quickly, without interruption. Scenic Designer Riccardo Hernandez's set inspires a feeling of the ancient opera houses in which Rossini's work was first performed.

Conductor Kenneth Montgomery leads the orchestration through this complicated and thrilling score with ease.

As usual, costumes at SFO are delightful and thrilling, with period pieces designed by Anna Maria Heinreich.

If you're thinking about seeing an opera this year, Barber is a safe bet for a fun evening of high drama. The energy is high and the music festive, which makes it easy to appreciate whether you are a seasoned opera-goer or a first time audience member.

Don't forget to attend the preshow lecture in Stieren Hall either two hours or one hour before the performance for background information on the opera.

The Barber of Seville runs Aug. 13, 16, 19 and 25

E-mail this story Printer-friendly version