Gioachino Rossini’s “The Barber of Seville” is replete with comical conundrums. An ardent count professes his love of a spirited young beauty who is carefully watched by her guardian, a pretentious doctor many years her senior. The count engages in a succession of disguises to get nearer the object of his affection, and confusion follows.
For Opera Colorado’s traditional production of the opera — boasting a well-cast ensemble in mostly debut performances — veteran director David Gately emphasizes the heart and humor of a plot that depicts the buffoonery of nobles manipulated by their subjects. For this production at the Ellie Caulkins Opera House, Gately eschews elaborate or modernist sets and costumes in favor of an atmosphere that relies predominantly on the cohesion of its cast to make the popular narrative fresh, entertaining and relevant to modern sensibilities.
For the action set in 19th-century Seville, Spain, John Stoddard’s sets and scenery — depicting the doctor’s house and the square in front of it — are unremarkable, yet accented with pleasing details, including a winding staircase, candelabras and abundant artwork on the walls. Mark DeBell’s discreet lighting design and the appealing, understated costumes by Anna Björnsdotter further underscore Gately’s conventional ambiance that is secondary to staging that supports the wit and subtle dramatic expressions of each character.
For example, a hilarious highlight of the production comes at the end of Act 1 in which a noisy argument between Doctor Bartolo and Count Almaviva attracts a troop of officers (well- played by the all-male chorus). A scuffle ensues, and the crescendo of chaotic events is choreographed in side-splitting slow motion in which each punch and blow takes on an exaggerated magnitude — much like watching a replay of a street fight.
In the title role of the barber Figaro — a likeable but self-important confidant and matchmaker — baritone Lucas Meachem proved himself a master of physical comedy, garnering laughter and applause even before he’d sung a single note. Especially whimsical is his pretend direction of each scene throughout the opera, as if turning a light switch on and off, thereby also yielding an omnipotent influence over the characters and action around him.
Enter the stunning Isabel Leonard, whose lilting mezzo-soprano voice and fluid, natural acting ability brought to the role of Rosina all the sweetness and cunning of this central character. Her “Una voce poco fa” aria and overall embodiment of Rosina hold sway among the many more experienced Rosinas who precede her — when she explains that she becomes a viper when crossed in love, you believe her.
The amorous young Count Almaviva is sung by tenor Brian Stucki whose performance is notable for the humorous naivety he brings to the role of Rosina’s devoted lover, although the intended chemistry between the two might have been stronger. Stucki’s voice didn’t always fully project, but his overall tapered tone and graceful vocal inflection compensated.
Bass-baritone Thomas Hammons is spot-on in his characterization of the controlling, yet hapless Doctor Bartolo, Rosina’s avuncular guardian who schemes to marry her with the help of the malevolent Basilio, well-rendered by bass-baritone Wayne Tigges. Also solid are the supporting roles of the deaf and elderly, yet spry, Ambrogio, sung by tenor Brendan Daly, and baritone Ted Federle’s beautifully sung Fiorello. As Berta, the doctor’s housekeeper, Donata Cucinotta is vocally reliable, but her arguable overacting was at times distracting.
In light-hearted accompaniment, Italian conductor Leonardo Vordini led musicians of the Colorado Symphony Orchestra in a consistently sophisticated, nuanced reading of the score, immediately apparent from the opening bars of the opera’s well-known overture.
“The Barber of Seville” runs through Sunday, but the Valentine’s Day performance is sold out. Go to .
“The Barber of Seville”
Opera. Ellie Caulkins Opera House, Denver Performing Arts Complex, 14th and Curtis streets. Opera Colorado presents Gioachino Rossini’s ever-popular comedy. 7:30 p.m. Saturday, Tuesday and Feb. 12 and 2 p.m. Feb. 14. 3 hours. $30-$160. 800-982-2787 or
