Review: The Barber of Seville at San Francisco Opera

I saw The Barber of Seville at the San Francisco Opera today.

The stage had a beautiful modern rendition of Seville, Spain. It was elegant and classic at the same time.

The performers' costumes were richly detailed and appropriate for the opera. I especially enjoyed the small touches, like the rising moon, the bicycles that Figaro rode, the beautiful balloons, and the car (and snow in the performance).

I really enjoyed this production of the classic Rossini opera - and being in the front row near the orchestra - was also quite memorable. The role of Figaro was played by Audun Iversen, and he sang with a lovely, clear voice. The Count of Almaviva's part was played by Alek Shrader and did not have such a strong voice (as I think is warranted for that role). The part of Rossina was played by Daniela Mack, who sang it well.

As a comic opera, it was entertaining and enjoyable. If I could wish for anything, it was for a stronger voice for Count of Almaviva to make his part more outstanding. I liked how the orchestra played and enjoyed hearing dual harpsichords (like in Rossini's day).

Overall, I recommend seeing this opera - especially if you can get seats up close, as the beautiful costumes and the elegant set make it worthwhile.

I was lucky to have purchased front-row seats, which added immensely to the enjoyment of the opera. Since Inna was unwell, I took my dad to the opera (in her place), and he immensely enjoyed it!

Here are some photos that San Francisco Opera posted on their website (taken by Cory Weaver):

According to Wikipedia:

Act 1[edit]

The square in front of Bartolo's house

In a public square outside Bartolo's house, a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina ("Ecco, ridente in cielo"; "There, laughing in the sky"). Lindoro, the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself—not his money. Almaviva pays off the musicians, who depart, leaving him to brood alone. Rosina is the young ward of the grumpy, elderly Bartolo. She is allowed very little freedom because Bartolo plans to marry her, and her not inconsiderable dowry, himself – once she is of age.

Figaro approaches singing (Aria: "Largo al factotum della città"; "Make way for the factotum of the city"). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he successfully arrange this. (Duet: "All'idea di quel metallo"; "At the idea of that metal"). Figaro advises the Count to disguise himself as a drunken soldier ordered to be billeted with Bartolo to gain entrance to the house. For this suggestion, Figaro is richly rewarded.

A room in Bartolo's house with four doors

The scene begins with Rosina's cavatina, "Una voce poco fa" ("A voice a little while ago"). (This aria was originally written in the key of E major, but it is sometimes transposed a semitone up into F major for coloratura sopranos to perform, giving them the chance to sing extra, almost traditional, cadenzas, sometimes reaching high Ds or even Fs, as is the case of Diana Damrau's performances.)

	"La calunnia è un venticello" MENU 0:00 Feodor Chaliapin
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Knowing the Count only as Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumors about him (this aria, "La calunnia è un venticello" – "Calumny is a little breeze" – is almost always sung a tone lower than the original D major).

When the two were gone, Rosina and Figaro entered. The latter asks Rosina to write a few encouraging words to Lindoro, which she has already written. (Duet: "Dunque io son…tu non m'inganni?"; "Then I'm the one…you're not fooling me?"). Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. (Aria: "A un dottor della mia sorte"; "To a doctor of my class").

As Berta, the Bartolo housekeeper, attempts to leave, she is met by the Count disguised as an intoxicated soldier. In fear of the drunken man, she rushes to Bartolo for protection, and he tries to remove the supposed soldier but fails. The Count manages to have a quick word with Rosina, whispering that he is Lindoro and passing her a letter. The watching Bartolo is suspicious and demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Bartolo and the Count start arguing, and when Basilio, Figaro, and Berta appear, the noise attracts the attention of the Officer of the Watch and his men. Bartolo believes the Count has been arrested, but Almaviva only has to whisper his name to the Officer and is released immediately. Bartolo and Basilio are astounded, and Rosina makes sport of them. (Finale: "Fredda ed immobile, comme una statua"; "Cold and still, just like a statue").

Act 2[edit]

A room in Bartolo's house with a piano

Almaviva again appears at the doctor's house, disguised as a singing tutor and pretending to substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro, who he believes to be one of the Count's servants, intending to pursue women for his master. To avoid leaving Lindoro alone with Rosina, the doctor has Figaro shave him. (Quintet: "Don Basilio! – Cosa veggo!"; "Don Basilio! – What do I see?").

When Basilio suddenly appears, he is bribed to feign sickness with a total purse from Almaviva. Finally, Bartolo detects the trick, drives everybody out of the room, and rushes to a notary to draw up the marriage contract between himself and Rosina. He also shows Rosina the letter she wrote to "Lindoro" and convinces her that Lindoro is merely a flunky of Almaviva.

The stage remains empty while the music creates a thunderstorm. The Count and Figaro climb a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and expresses her feelings of betrayal and heartbreak. Almaviva reveals his identity, and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door and attempting to go by way of the ladder; they realize it has been removed. The two are Basilio and the notary, and Basilio is given the choice of accepting a bribe and being a witness or receiving two bullets in the head (an easy choice, he says). He and Figaro witness the signatures of a marriage contract between the Count and Rosina. Bartolo barges in, but it is too late. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry.