Opera review, 'Barber of Seville' at Opera Theatre Highland Park
By Dan Tucker
Opera buffs generally scowl at the idea of condensing a
favorite opera. It seems like a Reader's Digest version of a
classic, a master work in economy size.
Rossini's "The Barber of Seville," as presented by Opera
Theatre Highland Park, puts such concerns to rest. It is not
so much shortened as skillfully miniaturized. There is no
chorus, and the orchestra consists of a string quartet with
piano, but the singers are all one could ask, and the missing
parts are filled in with such elegance and wit that you
hardly miss them.
Sunday's performance at the Highland Park Community House
owed a great deal to stage director Michael Kotze, who had
the idea of putting Gioacchino Rossini on stage to narrate
his own opera, and to baritone Warren Moulton, who doubled as
both the talkative composer and Fiorello, the lovesick Count
Almaviva's sidekick.
The idea works fine, both artistically and economically.
Moulton's smart, sardonic comments were very much a part of
the show; they also made a chorus unnecessary, thus making
this low-cost production possible. (The same applies to
replacing Rossini's orchestra with four strings and a gifted
pianist-conductor, Canada's Francesco Milioto. The sound was
a bit thin, but the tunes as always were champagne for the
ears.)
Almaviva's opening serenade to the absent Rosina, with
coaching from Fiorello and later Figaro himself, immediately
set an impressive standard. Tenor Jay Morrissey portrayed
Almaviva as a nerdy swain who needs all the coaching he can
get, but his bright, nimble tenor was convincing and got more
so as the action went on. Moulton is listed as a tenor, but
his big, roomy voice had a deeper ring than Morrissey's and
contrasted nicely with it.
From his entrance with the famous "Largo al factotum,"
baritone Eric McKeever as Figaro had the audience in his
fist. He combined a voice of power and brilliance with a gift
for comic timing that fit right in with Rossini's.
As the love-smitten Rosina, more or less the heroine, Laurel
Cameron displayed a fresh, lively soprano and a devastating
smile. Bass-baritones John Payonk and Andrew Schultze, both
mainstays of opera productions around the Chicago area, were
in their element as the not-very-smart villains, Dr. Bartolo
and Don Basilio. And as Bertha, Bartolo's servant and
presumed future bride, Veronica McHale made her single aria a
comical charmer.
In its seventh season, Opera Theatre Highland Park shows
class far beyond its years.
"The Barber's"last performance will be at 8 p.m. Saturday at North Shore Center for the Performing Arts in Skokie.
For more information,
go to:
http://www.metromix.com/top/1,1419,M-Metromix-Home-email!ArticleDetail-60226,00.html
Copyright 2002 Tribune Interactive