Celebrating its bicentennial, Rossini’s masterpiece “The Barber of Seville” is a staple of opera companies around the world. Presented by Virginia Opera on Friday in the Carpenter Theatre at Dominion Arts Center, this “Barber of Seville” is a perfect example of how to update and breathe new life into a beloved classic.
Virginia Opera is ambitious here, going for over-the-top entertainment while never underserving or disrespecting the beauty and majesty of the opera itself. From the sublime to the ridiculous, it all works. The show is beyond memorable. It’s unforgettable.
There is a bounty to appreciate. Conductor John Baril’s sensitivity, especially in going soft for Count Almaviva’s more tender arias, allows the exquisite tone of Andrew Owens’ tenor to be heard — as well as his masterful dexterity and effortless dynamic transitions — both vocally and emotionally. Director Michael Shell, set designer Shoko Kambara and costume designer Amanda Seymour also deserve praise for this exuberant, colorful romp in a mod 1960s palette and setting.
Will Liverman as Figaro has a robust and rich tone and impressive rhythmic control, especially in the staccato runs, and an energetic, endearing charisma.
Megan Marino as Rosina shines. Her upper register is her sweet spot, but her acting may exceed her vocals, which takes nothing away from her vocals. She is tempestuous, flirtatious and saucy in her barely contained desire and love for the student Lindoro (Count Almaviva in disguise). In the second scene, set innovatively in the doctor’s office, she is a veritable chameleon.
Owens as Count Almaviva is impressive in his vocal prowess, but primarily as a gifted comic talent — from insecure student to drunken soldier to a sitar-carrying, yoga-posing hippie with round John Lennon sunglasses.
Matthew Burns as Doctor Bartolo is a sneaky master. He is such a believable nerd with pleated khakis and too-short necktie, so convincing in his jealousy, so deliciously silly, that one hardly notices the command and range of his voice.
Christopher Job as Don Basilio serves up a sonorous, earth-rumbling tone while delivering comic bits — from a disco star to a karaoke singer. He is dashing with a trace of sleaze.
Olivia Yokers as the maid Berta delivers lots of comic touches, and gorgeous vulnerability in her aria.
John Cauthen as Ambrogio, Bartolo’s servant, excels, channeling Tim Conway’s shuffling old man from “The Carol Burnett Show.”
The company, whether as street musicians, soldiers, policemen, or ducks in Doctor Bartolo’s delirium dream, deserve a bow. As cops, they are Keystone bumblers. As soldiers, they evoke Gilbert & Sullivan with seemingly diminished intellects.
Look closely because small touches abound. Berta’s dress matches the wallpaper of the doctor’s residence. When a stilt-walking mime appears, it completes the “wow factor” that this show continually offers, especially in its visual splendor.
This production swings for the fences. And it delivers not just a home run, but a tape measure Grand Slam. Bravo!
Contact Andrew Garrigue at agarrigue63@gmail.com.