The Barber of Seville

Joan Sutherland Theatre, Sydney Opera House, January 28

Opera AustraliaThe Barber of Seville

Left to right: Warwick Fyfe as Dr Bartolo and Paolo Bordogna as Figaro. Photo: Keith Saunders

Rossini’s comic opera The Barber of Seville, written in 1816 when he was just 24, is a wonderfully silly romp with the anarchic spirit of the narrative fun and games encapsulated in the sparkling score, which is full of catchy but complex melodies.

It’s hard to imagine a production that captures all the hilarity better than this one from Elijah Moshinsky. I’ve seen it several times now and it’s always a laugh-out loud delight. If you need a tonic, give this a go.

First staged by Opera Australia in 1995, and revived here by Hugh Halliday, you’d never believe that the production is 21 years old. Instead, it feels fresh as a daisy.

Adapted from Beaumarchais’ play, the plot revolves around Count Almaviva’s attempts to win the delectable Rosina from under the nose of her aging, rather odious guardian, Dr Bartolo, who wants her for himself. Aided and abetted by the barber Figaro – the go-to man if you need anything sorted – Almaviva enters Dr Bartolo’s house in various disguises and comic mayhem ensues.

Moshinsky has updated the action to the 1920s with boaters, bicycles and Buster Keaton-style shenanigans inspired by the silent movies – an era and style of comedy that suits the opera brilliantly.

The garish, cartoon-bright set by Michael Yeargan and costumes by Dana Granata are a hoot in their own right. Yeargan puts an open house on stage so that you can see into various rooms, upstairs and downstairs, at the same time from Dr Bartolo’s surgery to Rosina’s bedroom and the drawing room. Loudly patterned wallpaper makes an eye-watering statement, while Granata’s equally bright costumes add to the visual fun.

Delicious comic moments abound: a miniature terrace of houses from which small-scale, motorised figures of Bartolo and Rosina emerge as from a cuckoo clock; the barber shop scene with customers (and two theatre ushers) shrieking beneath steaming hot towels only to emerge beautifully coiffured; a bicycle ride through a storm staged like a segment in a silent film; Bartolo’s hapless patients who leave his surgery in worse shape than they arrived; and the police traipsing through Bartolo’s house and squashing into his surgery in Keystone Kops fashion.

There’s so much going on visually it could dwarf a mediocre cast, but the performers assembled here not only have the goods vocally but the acting and comic chops to pull it off brilliantly.

From the second Paolo Bordogna bounds onto stage from the auditorium as Figaro, he charms with his puppyish energy and wonderfully rich baritone. He plays the role to the hilt, always completely in the moment. His facial expressions are priceless, he has the measure of the broad comic style to a tee, and his lithe physicality is matched by his agile voice. He really is a charmer and the ideal Figaro.

Opera AustraliaThe Barber of Seville

Anna Dowsley and Kenneth Tarver. Photo: Keith Saunders

Anna Dowsley, who has established herself playing pants roles such as Cherubino in The Marriage of Figaro, Siebel in Faust and Tebaldo in Don Carlos, shows that she has the sparkle and charm to be a leading lady. She captures Rosina’s pertness and clear-eyed determination to get what she wants, and sings beautifully, her shining mezzo secure yet flexible.

American tenor Kenneth Tarver has a lovely, smooth voice and a warm stage presence, while Warwick Fyfe is a knockout as the creepy Bartolo (returning to the role, which he played when the production was last staged in 2011). He is a fine comic actor and sings superbly.

There are also impressive performances from David Parkin as Don Basilio, Jane Ede as Bartolo’s housekeeper and Samuel Dundas as Almaviva’s servant Fiorella. Dundas also gets huge laughs as Ambrogio, Bartolo’s silent servant, who shuffles around zombie-like in filthy uniform, a fag hanging from his mouth.

With Maestro Andrea Molina conducting the orchestra at a suitably sprightly pace, you’d be hard pressed to have more fun at the opera. A complete delight.

The Barber of Seville plays at the Sydney Opera House until March 22. Bookings: www.sydneyoperahouse.com or 02 9250 7777

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Faust

Joan Sutherland Theatre, Sydney Opera House, February 17

Michael Fabiano and Teddy Tahu Rhodes. Photo: Lisa Tomasetti

Michael Fabiano and Teddy Tahu Rhodes. Photo: Lisa Tomasetti

Sir David McVicar’s production of Faust, which premiered at the Royal Opera House, Covent Garden in 2004, arrives now at Opera Australia. It’s an impressive staging in its own right – but what makes it especially exciting are the three central performances by Michael Fabiano, Nicole Car and Teddy Tahu Rhodes.

Based on Goethe’s play, Gounod’s 1859 opera tells a classic story of the battle between good and evil, encompassing religion, temptation, sexuality and morality. Faust (Fabiano) is an elderly doctor who sells his soul to the devil in exchange for the return of youth. With the help of Mephistopheles (Rhodes), he seduces the beautiful, innocent, religious Marguerite (Car) then abandons her five months later, leaving her pregnant and alone.

When Marguerite’s soldier brother Valentin (Giorgio Caodura) returns from war he is outraged to discover her condition, fights with Faust and, as he lies dying, curses his sister. Imprisoned for killing her child, Marguerite offers fervent prayers to heaven and her soul is saved.

Originally set in 16th century Germany, McVicar has updated it to decadent Paris in the 1870s around the time Gounod wrote it.

His production is darkly dramatic balancing real emotion with lots of tongue-in-cheek touches from gaudy devil’s pitchforks to daemonic ballerinas and Satan in drag. It is staged on an imposing set by Charles Edwards that looms ominously over the action, with towering columns and an organ representing a cathedral, the ornate, crumbling proscenium of a theatre, and a streetscape with Marguerite’s home.

Into this space come the wonderfully hedonistic, debauched nightclub Cabaret L’Enfer in Act II where Faust first meets Marguerite, and a gloomy graveyard with a bleeding, falling crucifix for the Walpurgis Night festivities.

The costumes by Brigitte Reiffenstuel add flashes of vibrant colour, with plenty of blood red, to the dark setting, while Michael Keegan-Dolan’s witty choreography ranges from a saucy cancan to a diabolical Walpurgis ballet in which classical dancers in white tutus turn feral with rapiers, sexual posturing and daemonic laughter. The dancing is super-sharp.

The OA production (helmed by revival director Bruno Ravella) is blessed with a fine cast. Making his debut as Mephistopheles, Rhodes is in his element. His deep baritone exudes a rich range of colour and his characterisation is devilishly good, playing Satan as a dashing, supercilious, charismatic showman-about-town, who dons a number of different guises including a black, bejeweled ballgown and tiara.

Fabiano, a 30-year old American tenor generating plenty of buzz, has a huge, thrilling voice that soars effortlessly, making the hairs on the back of the neck stand up as he sails to the top of his range. He is also a strong actor, moving convincingly from doddery old man to rejuvenated, dapper chap.

Nicole Car and Teddy Tahu Rhodes. Photo: Lisa Tomasetti

Nicole Car and Teddy Tahu Rhodes. Photo: Lisa Tomasetti

Car – a young Australian soprano who made such an impression as Tatyana in last year’s Kasper Holten’s production of Eugene Onegin for OA – is again radiant. In her role debut as Marguerite, her singing has a sweet, luscious beauty and is full of emotion, and she is a beautiful actor, her early innocence every bit as convincing as her later anguish. She and Fabiano work together superbly, their voices making for a premium blend.

There is also impressive work from Anna Dowsley as Siebel, Richard Anderson as Wagner, Giorgio Caoduro as Valentin and Dominica Matthews as Marthe. The chorus is in fine form, while the Australian Opera and Ballet Orchestra gives a passionate performance of the lush, melodious score under conductor Guillaume Tourniaire.

The production received a huge response from the opening night audience with many on their feet at the end. As for Fabiano and Car, both will doubtless go far. Catch them now while you can.

Faust runs at the Sydney Opera House until March 13