It’s a fact well known that truly timeless productions rarely persist in the modern age, yet Giles Havergal’s staging of The Barber of Seville with the Opera North does just that. Approaching the thirtieth anniversary of its production, Rossini’s invigoratingly comical Opera contains something that all audiences can take with them, as the whimsically vigorous elements of the plot are played out in captivating style with a musical backing that truly captures the audience’s attention. Rossini’s Opera is a firm favourite amongst many, and this performance has just come to show why it shall continue to be so for its light heartedness combined with a musical brilliance unparalleled in the world of comic Opera.
The plot plays on the use of characterisation typical of nineteenth century comic opera, employing tricksters, ageing buffoons and a quick witted noblewoman as the centre of attraction. Sung in accurately translated vernacular English, The production plays out Count Almaviva’s repeated attempts to steal away the elegant Rosina from the miserly clutches of her guardian Doctor Bartolo, employing the help of Figaro, the enigmatic barber cum swindler whose talent for styling hair is only matched by his vocal pomposity and mischievous nature. Performed on a multi-layered set varying between three levels of Figaro’s barbershop, Bartolo’s drawing room and Rosina’s bedroom, the staging allows for a fluidity of space between scenes whilst equally creating opportunities for eavesdropping and equally the failure to hear or see amongst characters. The adaptability of this multi-dimensional stage accentuates the action on show, and allows for a fluid versatility in performing the numerous scenes of deception present in the plot.
In a plot fascinated with the problems of youth and love, the production’s use of a budding young cast brings out the youthful energy of the plot’s action in striking fashion. Eric Roberts’ playing of Bartolo brings a wonderfully spritely performance to the old stiff, enumerating his pinched movements to perfection whilst bringing vocal dexterity and a touch of the comic. Katie Bray executes Rosina’s coloratura with stunning ease, whilst Alistair Miles captivatingly plays the ludicrous figure of Don Basilio. The latter’s ridiculous costume, adorned in a tall wig with a pigtail trailing down to his waist only served to heighten the gravity of his bassist tones, bellowing them out at emphatic volume for all to admire.
Of course, the show wouldn’t be the same without the enigmatic figure of Gavan Ring as Figaro, whose inflated persona and lavish character really embody the exuberant farce of the production. All this is accompanied by a wonderful Chorus to intercede scenes and act as laughable police, musicians and the general public, whilst Stuart Stratford conducts calmly and confidently in allowing the majesty of the music to work in correspondence with such expressive performance on stage. Truly a wonder to see this opera in the flesh, it remains as refreshing and reinvigorating to seasoned viewers as it does to absolute newcomers, and will be sure to continue long into the future to captivate and amuse audiences through its pure sense of entertainment.
Oscar Ponton
Image: Tristram Kenton