Reviewed by Tom Lawler
Having never been to the Lyric Opera before, I mentioned how much I was looking forward to the evening’s performance of The Barber of Seville while running an errand at my neighborhood pet store. “Oh sure, Nathan Gunn,” said the storeowner knowingly, as he bagged up my stack of cat food tins. “He can do it all, and his shirt is definitely coming off at some point.” Not to quibble, but although Nathan Gunn can indeed do it all (He sings! He dances! He romances!), his shirt remained fastened in place all evening.
Let me also add that as charming and capable as Nathan Gunn is in the title role as Seville’s favorite barber/pharmacist/cupid/diplomat, The Barber of Seville is packed with pleasures of all types – for both opera lovers and those who have never ventured to the Lyric before.
Why does Barber feel like such a winning, infectious blend of classic opera and a more modern Broadway musical? Clearly this is the influence of director Rob Ashford, helming this all-new production of Barber. Although this is Ashford’s operatic directing debut, it comes on the heels of an accomplished directing, choreography and dancing career, including recent Broadway productions of Cat on a Hot Tin Roof and How to Succeed in Business Without Really Trying, as well as NBC’s live telecast of The Sound of Music.
Ashford puts his choreography magic to effect immediately in Act One as Count Almaviva (the dashing Alex Shrader) recruits an army of village musicians to help him serenade his object of desire, Rosina (Isabel Leonard, in a fiery Lyric debut). Watching this huge chorus of musicians try to silently tiptoe back and forth across the Lyric’s gigantic stage without being detected by Rosina’s evil guardian, Dr. Bartolo (Italian baritone and gifted comic actor, Alesandro Corbelli), we immediately realize we’re in good hands.
Ashford understands movement and how choreography can help create characterization – a vital skill for an opera director. When we meet Mr. Gunn in Barber’s pièce de résistance, “Largo al factotum,” not only are we dazzled by Gunn’s virtuosity with this extremely challenging aria (a lengthy piece combined with tongue-twisters set to a punishing tempo), but also we’re also completely charmed by Barber’s swaggering movement and comic self-importance (“Swifter and swifter, I’m like a thunderbolt.”).
Also, speaking of swagger, how bold was it for Rossini to put this showstopper in the first 10 minutes of his opera?
And another note on movement: There’s an intricate set change as night becomes day that is stunning in its elegance. As the entire set begins to slowly spin like a Lazy Susan, the chorus walks along in a similar arc carrying pieces of scenery as the background slowly changes from nighttime blues to a gorgeous golden sunrise. As a staircase snaps into place to complete the new interior, it took some restraint to not leap out of my chair and throw out a Bravo to Ashford and set designer Scott Pask.
At its heart, Barber is a love story, with plenty of comic elements, mistaken identities and rich characters. This is an ideal match for director Ashford, as well as for a cast who can sing on a world-class level while also bringing their characters to life with real acting chops. Gunn’s Russell Crowe-like furrowed brow and charisma stir the drink as the cupid who loves nothing more than money, while one-percenter Count Alamaviva wants someone to love him for him. Meanwhile, both team up to stop Dr. Bartalo from his evil plan of marrying his young ward, Rosina, for her sizeable dowry.
Yet, as infectious as Barber is moment to moment, the story of an elderly man keeping a girl prisoner in his home until he can marry her is inherently a dark one. In Act Two, a Moorish wrought iron dome that sits atop Dr. Bartalo’s home looks not a little like a cage, and the lovely Rosina’s dress is canary yellow (Catherine Zuber designed a fleet of rich, flowing costumes for this production). Rosina may have escaped one cage, but hopefully life with the Count will not just offer her a more luxurious enclosure. As Isabel Leonard forcefully shows us in Act One, Rosina is a fighter and survivor and no one’s object.
In other words, this all-new production of The Barber of Seville is not only an extremely pleasurable night of opera and theater, but one with shades of deeper meaning that linger deep into the night as you regretfully say goodbye to the gilded interiors of the Lyric and return to daily routines that aren’t nearly as decadent, colorful or dynamic.
Running Time: 3 hours, 7 minutes with one 30-minute intermission.
At Lyric Opera, 20 N. Wacker Dr.
Composed by Gioachino Rossini
Libretto by Cesare Sterbini
Directed by Rob Ashford
Conducted by Michael Mariotti
Set Design by Scott Pask
Costume Design by Catherine Zuber
Remaining performances:
Sun, February 9, 2pm
Wed, February 12, 2pm
Fri, February 15, 7:30pm
Tues, February 18, 7:30pm
Fri, February 21, 7:30pm
Tues, Feb 25, 7:30pm
Fri, February 28, 2pm
Buy tickets at LyricOpera.org or call 312.332.224. Note: Online ticket specials are being offered for the Tues, February 18 performance.