Balt_Op_Barber - Page: 1 of 1

By Paul Joseph Walkowski
OperaOnline.us

When Baltimore Opera Company announced somewhat unceremoniously that it was closing its doors a couple seasons ago opera goers in the greater Baltimore area were understandably shocked and more than a little disappointed with the news and abruptness of ticket nullifications. The closing came as a surprise to everyone.

Baltimore Opera produced good operas; its shows were enjoyable and its talent pool was wide and deep. When it closed everyone asked: what comes next? What entity will take its place? Indeed, will any company step in to fill the void?

This year a new (in name only) entity, comprised of performers and creative talent from the venerable Teatro Lirico D’Europa, a touring company that has thousands of performances under its belt and is no newcomer to those of us who have followed its performances over the years, has stepped in to fill the void, and in its first season at Baltimore’s restored Hippodrome Theater offered one of Rossini’s most popular operas, “The Barber of Seville.”

I viewed this performance at the Hippodrome on Sunday afternoon, November 22, and while not a big fan of the music style and era in which Rossini composed I found myself, nonetheless, drawn into the music and story of Count Almaviva’s pursuit of the lovely Rosina, with the help of the jack-of-all trades barber of Seville, Figaro. And since every show needs a villain (sort of), this one has one too. Determined at every turn to see that this union never occurs is Rosina’s older guardian and curmudgeonly other suitor, Dr. Bartolo.

It was a delightful performance, staged nicely and lit beautifully by Giorgio Lalov. It was a show peopled with an ensemble cast of seemingly indefatigable performers and a 39-piece orchestra that brought the house to laughter and earned solid applause at final curtain.

Simply put, the show was a blast, full of energy, good humor, outstanding individual and ensem-ble performances and solid production value. I have learned over the years that quality shows is what to expect from this company, and this time, as others, it did not disappoint. Indeed, the production value seems to have steadily improved. It’s a high water mark, actually, and a good place for this company to remain, since Baltimore audiences will undoubtedly appreciate the effort.

As for specifics, Bulgarian-born mezzo soprano Viara Zhelezova, singing the role of Rosina, was simply magnificent. Her acting was natural and fluid and her vocal delivery was flawless. She navigated through the sixteenths with seeming ease, displaying remarkable agility and sweetness, never missing the tempo. I was in awe of her stamina and infectious talent throughout. Brava!

Many deserved kudos go out to this cast, most notably the veterans Hristo Sarafov, singing the role of Dr. Bartolo and basso Konstantine Videv, singing the role of Don Basilio. Wow! When these two were on stage together, the dynamic was electrifying. As I have noted in the past when reviewing this opera with other companies, if these roles are done right they can make this opera soar and Sunday afternoon both singers were on their game, in every way, and the opera soared. Mr. Sarafov especially, won over the audience with a performance that was amusing and vibrant with energy and good humor. He captured the nuance of Dr. Bartolo wonderfully and never missed the opportunity to exaggerate Bartolo’s obsession, without ever sinking into silliness. Bravo!

Singing the role of Count Almaviva “aka” Lendoro (a disguised student) and “aka” Don Alonso, a supposed assistant of Don Basilio, was American-born lyric tenor Benjamin Brecher. The male vocal cord isn’t as flexible as the female and singing parts written by Rossini, Handel, Mozart, to name a few is, for most male singers, a noticeably uncomfortable undertaking for the singer and the audience. Mr. Brecher handled himself nicely, though. In spite of this compositional liability, which is not the singer’s fault, I found Brecher’s take on all his characters a solid plus to this production. I have seen him perform this role before and he fits the character well and obviously enjoys himself (and his characters’ antics) on stage.

Lyric baritone Petar Danailov singing the role of Figaro projected a strong and pleasant baritone (we should see more of him) and handled himself with ease on stage. He was a huge “plus” for this production as was mezzo-soprano Jo-Anne Herrero, singing the role of Berta, the maid, who actually gave the comprimario role real star quality and punch. Very nicely done. Also, “a tip-of-the-hat” to baritone Vladimir Hristov, singing the role of Fiorello, demonstrating the depth of this company’s lead and second singer ranks.

Markhan Thakar, conducting, did a superb job, one which it was clear even he was pleased with. The orchestra complimented the performers and storyline and rendered a finely honed interpretation of what Rossini clearly intended.

All in all I would have to say Baltimore’s brief opera draught has ended. Opera has returned to the city with a new company on the block, which is not so new, actually, and getting better all the time, Baltimore Opera Theatre. This “Barber” was a delightful and well-done comic success. Congratulations!

Markhan Thakar, Conductor
Giorgio Lalov, Artistic and stage director
Giorgio Lalov, Sets, costumes, lighting