Review of The Barber of Seville - Hackney Empire

L-R: Grant Doyle (Figaro), Kitty Whately (Rosina), Nicholas Sharratt (Almaviva), Cheryl Enever (Berta), Andrew Slater (Bartolo), Alan Fairs (Basilio) English Touring Opera // Rossini, The Barber of Seville Photo credit: Richard Hubert Smith

The English Touring Opera’s production of the Barber of Seville, sung in English, tunes in to modern sensibilities whilst keeping to the original context of Rossini’s opera and Beaumarchais’ play. The Hackney Empire is a wonderful venue in which to see this interpretation, with its beautiful interior and proscenium arch to frame performance, and with an audience demographic that is democratic rather than cliquey. All of which ties in nicely with the ETO’s policy to produce opera’ for everyone’. Their programme description of opera in 19th C Italy as a bawdy night out with the crowd shouting, interrupting when displeased with the performance, reminds us of a requirement and expectation to entertain.

Kitty Whately is a spirited Rosina; a beautiful orphan with a large dowry. She is a pleasure to listen to and her slightly clipped enunciation accentuates the comedy at times. Nicholas Sharratt playing Count Almaviva is dulcet in tone and aura; a winning embodiment of the aristocrat who gets his way through wealth and position, but is entirely dependent on his former servant, now the Barber, Figaro, to achieve his ends, and blindingly led by his passion for Rosina. The somewhat conceited nature of his character comes through, as with the notion that Rosina should prove her love for his personality not his money, pitched against her predicament. The assuming of disguises is executed to great dramatic effect as he moves from poor student to drunken soldier to music tutor before revealing himself as the love struck Count. Rosina is to be forcibly married to her guardian the aged Dr Bartolo; Andrew Slater conveys Bortolo’s pomposity and frustration with particular flair. Bartolo shouts at his ward, keeps her locked away and covets her wealth (certainly in this production more than her youth and beauty). Grant Doyle as Figaro has huge presence and magnetism; he out performs everyone else as Figaro should; the servant who empowers the action and controls his aristocratic masters, and so called betters. Cheryl Enever as Berta, Alan Fairs as Don Basilio, and chorus members complete the vivacity of the piece. Conductor Paul McGrath leads the orchestra with aplomb, contributing greatly to the overall rousing delivery of the production.

Tuning in to modern sensibilities the issue of money is at the heart of this production. The Count can get what he wants by means of his wealth and Figaro will achieve this for him, for money. Ultimately Bortolo gets to keep Rosina’s dowry and does not rue the loss of his bride. The ardour of ‘young love’ between Count Almaviva and Rosina is comic and impulsive – for Rosina faced with the alternative of her curmudgeonly, cantankerous aged guardian, her will and drive to escape are highly believable. Director Tom Guthrie encapsulates his feeling about the opera as ‘A love story where an old man is scuppered by young love.’

The action is presented within picture tableaux scenes. The central backdrop of looming storm clouds changes colour with the mood and context of the storytelling and the set design has a Pop Art flavour, including Warhol coloured portraits of Bortolo and Comic Strip speech bubbles. The rich colour and fabric of the costumes adds to the upbeat flavour of the production.

The English Touring Opera is on national tour until the end of May with the Barber of Seville and Eugene Onegin in theatres and three other productions for children in schools, halls and studio theatres. Look out for their Autumn season.

Bryony Hegarty

http://englishtouringopera.org.uk/

Link to original review here