December 5, 2008
This was so marvellously spot-on it's hard to know where to start. It's a classic farce involving young lovers trying to fox an old guardian, abetted by the town's resourceful barber, and is the origin of the beloved operatic aphorism "If it's too silly to say, sing it". This production from 1986 is a magnificent, exuberant cross between an upmarket pantomime and a very well-produced Gilbert and Sullivan, with beautiful music beautifully performed.
The curtain is never down: the audience arrives to find another audience of players in 19th century dress fussing around on stage and beaming at the orchestra, and they remain part of the action throughout, applauding at appropriate moments and helping with the scene-shifting on the colourful curtain-and-scaffolding set (reminiscent of a Punch and Judy booth). During a storm they produce an antique barrel-shaped wind-machine: that was my favourite.
So often in opera one has a feeling of anxiety about at least one member of the cast - will he or she manage the next high note? - but on this occasion, every player was in full vocal command. So much so that they could afford to relax about it: disguises are created and conversations hammed up with deliciously Monty Python-esque vocal masquerading - but always within the boundary of respect for the score. Balancing faithfulness to the music and the entertainment potential of the piece is a tricky job, and they manage it beautifully. There's hilarious "business" throughout, but always placed judiciously and with care not to distract us from the sound.
Eric Roberts came some way towards stealing the show with his crotchety old guardian Dr Bartolo: a genius of physical comedy rather reminiscent of Bagpuss’s Professor Yaffle. His musical snoring was particularly fun. Laura Parfitt as Rosina was lovely, with a blossomy petulant beauty that justified the plot. And the young heroes - the charismatic John Moore (Figaro the barber) and the honey-voiced tenor Colin Lee (as the Count) - pranced around endearingly like a couple of tomcats, so terrifically pleased with themselves that I was on their side from the word go.
The pace is fast, the players terrific, the story farcical and Robert David MacDonald's Gilbertian translation is well-rhymed and gloriously funny. There are intermittent surtitles, even though it's sung in English. This really worked for me - occasionally helpful yet unobtrusive. Make sure you’re comfortable for the first Act; it’s about twice as long as the second.
If you can buy, beg, borrow or steal tickets for this Saturday, do so. Probably the best thing I've seen all year.
The curtain is never down: the audience arrives to find another audience of players in 19th century dress fussing around on stage and beaming at the orchestra, and they remain part of the action throughout, applauding at appropriate moments and helping with the scene-shifting on the colourful curtain-and-scaffolding set (reminiscent of a Punch and Judy booth). During a storm they produce an antique barrel-shaped wind-machine: that was my favourite.
So often in opera one has a feeling of anxiety about at least one member of the cast - will he or she manage the next high note? - but on this occasion, every player was in full vocal command. So much so that they could afford to relax about it: disguises are created and conversations hammed up with deliciously Monty Python-esque vocal masquerading - but always within the boundary of respect for the score. Balancing faithfulness to the music and the entertainment potential of the piece is a tricky job, and they manage it beautifully. There's hilarious "business" throughout, but always placed judiciously and with care not to distract us from the sound.
Eric Roberts came some way towards stealing the show with his crotchety old guardian Dr Bartolo: a genius of physical comedy rather reminiscent of Bagpuss’s Professor Yaffle. His musical snoring was particularly fun. Laura Parfitt as Rosina was lovely, with a blossomy petulant beauty that justified the plot. And the young heroes - the charismatic John Moore (Figaro the barber) and the honey-voiced tenor Colin Lee (as the Count) - pranced around endearingly like a couple of tomcats, so terrifically pleased with themselves that I was on their side from the word go.
The pace is fast, the players terrific, the story farcical and Robert David MacDonald's Gilbertian translation is well-rhymed and gloriously funny. There are intermittent surtitles, even though it's sung in English. This really worked for me - occasionally helpful yet unobtrusive. Make sure you’re comfortable for the first Act; it’s about twice as long as the second.
If you can buy, beg, borrow or steal tickets for this Saturday, do so. Probably the best thing I've seen all year.