Rossini, Barber of Seville: San Francisco Opera, War Memorial Opera House, San Francisco, 04.11.2006 (PB)

 

 

Coming on the heels of a leaden and moribund production of Tristan and Isolde, Rossini’s The Barber of Seville proved to be just the antidote for SFO subscribers. Not just because Johannes Schaaf’s staging is so manically comic, mind you. It’s simply more creative.

A reprise of the 2003 production, this Barber again features a two-story rotating house that seems inspired by Frank Lloyd Wright. Its minimalist design values (translated by Hans Dieter Schaal) provides a compelling visual contrast to the convoluted plot.

While a few patrons complained that opening night was less satisfying, the subsequent show put on November 4, contained all the musical ingredients associated with the world’s most beloved opera.

Nathan Gunn – arguably one of the most glamorous baritones alive – was welcomed back as Figaro, and was given a well-deserved hand for the role he first took on here three years ago. Gunn is a supremely physical actor with a vocal style that is muscular and virile. He’s a bit of a ham, too, but that doesn’t hurt in commedia dell’arte.

Less commanding, and far less confident, was Allyson McHardy, who made her SFO debut just two years ago in Eugene Onegin. Her Rosina was often tentative and somewhat weak, but her rendition of “Una voce poco fa” was sublime.

As expected, the American tenor, John Osborn, was outstanding. This was his first time at SFO, but many in the audience were familiar with his work with the Metropolitan Opera. As Count Almaviva, he was both bold and elegant, employing vocal shadings that are remarkably nuanced. Kudos, too, for the ever-reliable Catherine Cook as Berta. She took a star’s turn with the aria “Il vecchiotto cerca moglie.”

If there was any element of disappointment, it may have been generated in the pit this time. The same orchestra which so gallantly saved the Wagner debacle a few weeks ago, seemed a bit tired and disheartened. The much-acclaimed Italian conductor, Maurizio Barbacini, appeared to be at a loss, too, when trying to exhort more instrumental excitement. One wonders what this maestro would do with William Tell.

 

 

Patrick Burnson