Joshua Hopkins as Figaro, Maria Kataeva as Rosina, and Levy Sekgapane as Rely Almaviva in Rossini’s “The Barber of Seville.” Photograph: Cory Weaver/San Francisco Opera
All people’s favourite barber returned to the Warfare Memorial Opera Home on Thursday, Could 28, after eleven years (shock, shock!), as San Francisco Opera (SFO) dusted off Emilio Sagi’s colourful, flamenco-inspired manufacturing to open its 2026 Summer time Season. (These eleven years don’t embrace the 2021 drive-in abridged model, which marked SFO’s return to reside performances after the pandemic.)
Il barbiere di Siviglia, Gioachino Rossini’s adaptation of Pierre Beaumarchais‘s French social-criticism play of the identical title, with Cesare Sterbini’s Italian libretto, has continued to dazzle operatic audiences all over the world since its 1816 premiere. It’s extensively thought to be the best opera buffa and a mainstay of the operatic repertoire. The nonstop string of “hit” arias and ensemble items, usually utilized in different media has ensured its continued recognition.
This manufacturing of Il barbiere di Siviglia, a co-production with Lithuanian Nationwide Opera, was first seen in 2013 and revived in 2015. It was a good-looking manufacturing, sunny in its disposition and brightly lit (by Gary Marder), staying true to its Seville setting, with practically all of the motion happening outside. It was notably hanging for 2 causes: the colour development all through the present, from virtually completely off-white to a kaleidoscopic vary of rainbow colours in Pepa Ojanguren’s costumes for the finale (good timing for Delight season), and the incorporation of many flamenco dances throughout the crowd scenes, notably in Act I (initially choreographed by Nuria Castejón, right here revived by Colm Seery), virtually as if suggesting that happiness comes while you embrace shade and dance.
As in every other manufacturing of Il barbiere di Siviglia, Sagi centered on the physicality of everybody onstage to intensify the comedic quotient. Right here, the largely youthful solid proved a terrific asset, making the night full of life and enjoyable as they committedly carried out one trick after one other — like falling off the chair, flexing whereas flirting, even throwing spiderweb-like on the climax of Don Basilio’s “La calunnia” — to the delight of the viewers. Llorenç Corbella positioned Don Bartolo’s dwelling on a platform diagonally throughout the stage, and the world under turned one thing of a playground for the commoners (the villagers, the troopers, and so forth., together with Figaro), a refined nod to Beaumarchais’s social courses.
Musically talking, Thursday’s efficiency bought off to a rocky begin. From the well-known Overture, Benjamin Manis led the orchestra in a moderately leisurely studying that didn’t take off, notably in Act I. There have been plenty of steadiness points early on, earlier than Rosina’s arrival. Luckily, issues improved within the second half, giving me hope that the latter performances could be higher.
South African tenor Levy Sekgapane made an attention-grabbing home debut as Conte Almaviva, a task he had carried out quite a few instances throughout Europe. His brilliant, lyrical voice was agile and clear, and his coloratura sounded easy. However, on Thursday, it took him some time to heat up, and he was usually drowned out by the orchestra and refrain. Solely in Act II did he absolutely blossom (to the purpose of just about sounding like a distinct particular person), and his supply of Almaviva’s tour-de-force aria “Cessa di più Resistere” (full with the cabaletta “Ah, il più lieto”) introduced the home down.
Joshua Hopkins assumed the title function with crafty and playfulness, making it clear that he was in it just for the cash (as he sang earlier within the first act). Curiously, his Figaro was much less boastful than standard (even within the well-known “Largo al factotum”) and virtually as if he had been content material taking part in second fiddle to Conte Almaviva. Such a distinct take proved moderately problematic for me, particularly because the opera is, in spite of everything, in regards to the barber!
A scene from Rossini’s “The Barber of Seville” with Mary Hoskins as Berta, Maria Kataeva as Rosina, Renato Girolami as Physician Bartolo, Riccardo Fassi as Don Basilio, Joshua Hopkins as Figaro, and Levy Sekgapane as Rely Almaviva. Photograph: Cory Weaver/San Francisco Opera
Renato Girolami labored laborious because the token “villain” (and laughing inventory) of the present, unreservedly throwing himself into varied ridiculous conditions all through. Even in such a predicament, his familiarity with the function shone by in his clever supply of “A un dottor della mia sorte,” marked by equal elements satisfaction and delusion. Debuting bass Riccardo Fassi made an underwhelming Don Basilio, with problematic low notes in “La calunnia,” which curiously was carried out one entire step decrease (in C) right here. The comprimario roles had been admirably crammed by present Adler Fellows, from Mary Hoskins (subbing for an indisposed Catherine Prepare dinner) as Berta to Olivier Zerouali, Thomas Kinch, and Gabriel Natal-Baéz as Fiorello, Officer, and Ambrogio, respectively.
To me, the star of the present was undoubtedly Maria Kataeva’s spellbinding Rosina. SFO as soon as once more demonstrated its Midas contact by introducing nice singers to SF (and US) audiences. With a heat, velvety sound, a well-supported core, and an ease of supply even in essentially the most troublesome coloratura passages, she was a power to be reckoned with, really a scene-stealer each time she appeared. Even higher, she moved with grace, performing little dances right here and there to match the dancers onstage, whereas wanting completely beautiful in varied Ojanguren’s flowery attire. Little marvel she acquired the loudest applause from the viewers!
SFO is presenting Il Barbiere di Siviglia with a double solid; the second solid begins on June 3. The third efficiency may even be livestreamed on Friday, June 5, at 7:30pm. Moreover, it will likely be offered as a part of the Encounter sequence as a one-night-only occasion on June 17, the place, after the primary act, the viewers can be part of the solid for an immersive opera expertise. The Encounter sequence, now in its fourth season, has confirmed standard with audiences thus far.
