Rossini’s Barber of Seville at Lyric Opera (2019-2020)

Last night my wife and I attended Chicago Lyric Opera’s production of Giacomo Rossini’s 1813 opera, The Barber of Seville, one of the greatest works in the operatic repertory, not performed as frequently as some lesser operas, possibly because singing it is so demanding. This was Lyric Opera’s opening performance of its 2019-2020 season. Lyric sent us a notification that it was black tie so my wife wore a formal; I wore a tux. It’s the first time I can recall dressing so formally for a Lyric production and I’ve been going to Lyric productions for 40 years, for most of which time I’ve held a season subscription.

The production itself was a revival of one we’ve seen before. The sets and costumes were quite traditional. It’s a good production. To understand the remainder of my comments I have to explain a little of the history of opera. In 18th century Italy there were two broad types of opera: opera seria, dealing with serious subject—tales of gods and heroes, derived from stories of classical antiquity or mythology and intended for a noble audience, and opera buffa, comic operas with characters drawn from everyday life. All contemporary operas are opera buffa. Barbiere is an opera buffo.

Last night’s performance of Barbieri was undoubtedly the most buffo I have ever seen and I have seen nearly a dozen different productions. It was extremely broad. By and large the acting was pretty good. I thought that Adam Plachetka’s Figaro owed more to Eastern European clowns than the Italian Commedia dell’arte Arlecchino character whom he embodies. Lawrence Brownlee’s portrayal of Almaviva/Lindoro/Doctor Alfonso was brilliantly funny.

Vocal standouts were Marianne Crebassa as Rosina (although I thought she had a few problems with breath support here and there) and veteran performer Alessandro Corbelli as Dr. Bartolo. With the exception of Sig. Corbelli the cast was quite young. Mathilda Edge (Berta) was particularly notable as was Krzysztof BÄ…czyk (Don Basilio).

All in all it was an entertaining evening at the opera although not at the level of excellence of productions we have seen at Lyric in the past.

One personal note about Barber. The recessional at my wife’s and my wedding was the finale from the Barber of Seville, Amor e fede eterna, si vegga in noi regnar! (“may love and eternal faith reign eternally”), so the opera holds a special place in my heart. There is a good performance here if you’re curious.

The Critics

At Chicago Tribune Howard Reich writes:

Lyric Opera of Chicago launched its 65th season on Saturday night with a laugh.

Quite a few of them, actually, thanks to a wickedly funny, elegantly sung, cleverly directed production of Rossini’s “The Barber of Seville.”

He gives it four stars. Assuming he means of five, he must have attended a different opera than we. I would have given it two and a half to three although I did agree with this:

The production’s other vocal tour de force came from Mathilda Edge, a first-year Ryan Opera Center member making her Lyric debut as Berta, Rosina’s governess. Her big moment comes in “Il vecchiotto cerca moglie,” in which she ponders the madness of love. Soprano Edge yielded not only an enormous sound with remarkable point but a coyly understated humor that cut against the hysterics that preceded and followed her.

Brava.

Wynne Delacoma’s assessment at Sun-Times was a little closer to the mark:

It took a while for Rossini’s usually frothy comedy “The Barber of Seville,” which opened Lyric Opera of Chicago’s 65th season Saturday night, to achieve liftoff. Despite stellar voices and airy sets glowing with the luminous sunshine, cool stone colonnades and filigreed wrought iron of 18th century Spain, the first half of the performance felt earthbound. After intermission, however, the pace seemed to quicken in this revival of a previous Lyric production, new in 2014 and originally directed by musical theater veteran Rob Ashford. By the final, rollicking chorus celebrating the triumph of young love, hearts were soaring, both onstage and in the audience.

At Chicago Theater and Arts Jodie Jacobs gives 3½ stars to “top tier voices and leads who know how to act”.