Family Opera: November 2005

The Barber of Seville

Daniel Collins (Figaro), Aurelio Dominguez (Count Almaviva), Yvette Smith (Rosina), and in front, Michael Nansel (Dr. Bartolo)

This season's opera for children and their families, our 31st family opera, was Rossini's delightful comedy The Barber of Seville, English translation by Thomas and Ruth Martin and adapted for young audiences by the Lyric Opera of Chicago.

The opera tells the story of the ardent Count Almaviva, who has fallen in love with Rosina, the pretty ward of Doctor Bartolo, who wants to marry her himself. Bartolo and his sidekick Basilio do everything they can to prevent Almaviva from being with his love. But they don't know that Almaviva is a master of disguise and has a friend who can help: FIGARO. Bartolo better watch out before Figaro, the barber of Seville, distracts him with a close shave!

From left, in rear, Daniel Collins (Figaro), Yvette Smith (Rosina), Aurelio Dominguez (Count Almaviva), and Michael Nansel (Dr. Bartolo). From left, in front, Bouji Galea, Addie Murphy, Isabel George, Paul Murphy, Marisa Wright, and Michael Pisagan

The following review appeared in the Washington Post on November 15, 2005.

Opera Theatre Restyles 'Barber' for the Fun of It

If you consider opera a sacrosanct form and a composer's performance wishes inviolable, then the Opera Theatre of Northern Virginia's version of Rossini's "Barber of Seville" is emphatically not for you. It is only for people who think opera should be fun.

This is a 45-minute, one-act version of Rossini's masterpiece, adapted by Lyric Opera of Chicago and sung in English. It is Rossini as situation comedy -- which, come to think of it, is not a bad approach.

Certainly Sunday's audience at Arlington's Thomas Jefferson Community Theatre appreciated it. Half the attendees were younger than 10, there was a smattering of teenagers and most of the over-70 set brought grandchildren. It was that kind of inclusive performance.

Artistic Director John Edward Niles conducted a six-piece ensemble (piano, strings and oboe) and a cast of four. Daniel Collins was a bright and bouncy Figaro, delivering such silly lines as "my prodigious brain explodes upon the spot" with aplomb. Yvette Smith was a strong-voiced and strong-willed Rosina. Michael Nansel made a wonderfully curmudgeonly Dr. Bartolo, and he took his pratfalls with ease. Only Aurelio Dominguez as Count Almaviva had a little trouble with the format and was off-pitch at the beginning, though he soon improved.

The six child supernumeraries -- area residents Bouji Galea, Isabel George, Addie and Paul Murphy, Michael Pisigan and Marisa Wright -- were wonderful movers of the action and the scenery. It all added up to the least pretentious opera you'll ever see. And you can still see it: It will be repeated Saturday afternoon.

-- Mark J. Estren