A scene from Rossini's "The Barber of Seville" with Thomas Kinch as an Officer, Riccardo Fassi as Don Basilio, Mary Hoskins as Berta, Renato Girolami as Doctor Bartolo, Maria Kataeva as Rosina, Joshua Hopkins as Figaro, and Levy Sekgapane as Count Almaviva. Photo: Cory Weaver/San Francisco Opera
If you are opera curious and want to give it a try, San Francisco Opera’s “The Barber of Seville” is the perfect gateway. This witty opening to the summer season, directed by Emilio Sagi and conducted by Benjamin Manis, showcases Gioachino Rossini’s masterpiece, written in just under two weeks. The result is a well-timed, action-packed show. Comedic timing is everything, and this tale of love, money, and mendacity takes audiences on a three-hour and fifteen-minute journey that keeps the energy high.
Count Almaviva (South African tenor Levy Sekgapane) has fallen completely in love with Rosina (Russian mezzo soprano Maria Kataeva). Rosina is the ward of the much older Doctor Bartolo (baritone Renato Girolami), who hopes to marry her for her dowry. He guards her jealously with the help of her music teacher, Don Basilio (Riccardo Fassi). To overcome these obstacles, Almaviva enlists the well-connected, all-knowing, and forever boastful Figaro (Joshua Hopkins).
Joshua Hopkins as Figaro and dancers in Rossini's "The Barber of Seville." Photo: Cory Weaver/San Francisco Opera
Rosina proves that although she is a victim of circumstance, she is by no means powerless. Through Kataeva’s singing and movement, she creates a richly engaging character. One moment, she is a sweet and dutiful young woman; the next she is plotting with the confidence of a trickster. Kataeva’s performance is among the production’s strongest. Girolami is equally impressive as the gruff and controlling Doctor Bartolo. More than once, he steals the scene alongside Fassi’s Don Basilio. How he keeps pace with Rossini’s rapid-fire music is a marvel. Figaro and Almaviva share an easy comic chemistry, while the cigarette smoking and perpetually put upon Berta (Mary Hoskins) adds considerably to the humor.
Joshua Hopkins as Figaro, Maria Kataeva as Rosina, and Levy Sekgapane as Count Almaviva in Rossini's "The Barber of Seville." Photo: Cory Weaver/San Francisco Opera
Together, the cast functions as a well-oiled machine, moving effortlessly through a story filled with far-fetched schemes, deceptions, bribes, backstabbing, and a bit of well-timed flamenco. Llorenç Corbella’s raised diagonal set creates a subterranean space from which props and mischief seem to emerge endlessly. At one point, an entire regiment of soldiers crawls from beneath it, a memorable visual gag. The San Francisco Opera Chorus adds greatly to the production, and the possibilities offered by the set help sustain the evening’s sense of delight. Sagi’s staging provides striking tableaux throughout, while Gary Marder’s lighting design evokes the warmth of the Spanish sun.
This revival’s abundant charm, energetic performances, and visual inventiveness make for a thoroughly enjoyable evening. San Francisco Opera’s “The Barber of Seville” continues through June 21 at the War Memorial Opera House.
