On Tuesday 4th June, I visited Opera Holland Park with my friend Nick to watch the opening night of “The Barber of Seville.” The evening began with a crisp glass of Prosecco, an aperitif that led to a performance filled with bubbling ensemble energy and thrilling vocal aerobatics, which delighted me.
Rossini wrote the opera when he was just 23 years old. “The Barber of Seville” was his seventeenth opera, premiering at the Teatro Argentina in Rome on 20th February 1816. Despite its current popularity, which sees it performed in opera houses worldwide, the premiere was met with discouraging catcalls and hissing from the audience. This reaction was likely in support of other operas based on the same source material, such as Giovanni Paisiello’s 1782 version and Mozart’s “Le Nozze di Figaro” from 1786. This history is heartening, as it shows how public opinion and societal contexts can impact the reception of artistic works over time.
For those unfamiliar with the story, “The Barber of Seville” follows the clever barber Figaro as he assists Count Almaviva in winning the heart of Rosina, who is under the guardianship of the lecherous Doctor Bartolo. The opera is a whirlwind of disguises, clever schemes, and comedic misunderstandings, all culminating in a joyous finale where love triumphs over all obstacles.
Rossini’s opera brims with charm and cheek, qualities beautifully captured by the orchestra. The performance was well conducted by Charlotte Corderoy, recently appointed as an assistant conductor for the City of London Sinfonia (CBSO). Corderoy, a returning conductor who was a young artist conductor for OHP in their production of “Hansel and Gretel,” led the orchestra with vitality, creating fantastic atmospheres that masterfully progressed the story. During the soloists’ coloratura passages, the orchestra supported them by maintaining tension like a heartbeat, only to burst into exuberant orchestral sections of caffeinated excitement.
I particularly enjoyed Heather Lowe’s interpretation of a feisty Rosina. She handled the challenging vocal role with ease and a brilliance of tone. Elgan Llŷr Thomas delivered a characterful Count Almaviva, showcasing great comedic timing, especially during his scene as a disguised music teacher, which was particularly chuckle inducing when he briefly took over conducting the orchestra. Stephen Gadd portrayed a persuasively pompous Doctor Bartolo, making me squirm uncomfortably in my seats, wishing I could also get away.
I was delighted to see my friend and colleague Robert Garland undertaking the role of Officer and to catch up with Coral Nelson, the deputy stage manager for the run of performances, before show time. They were a delight to watch, and I wish them the best of luck in their roles.
The entire evening was filled with fun and laughter. I highly recommend attending a performance if you are in the area. There are more performances scheduled, and you can find more information at: https://operahollandpark.com/productions/the-barber-of-seville-2024/
The photos are all copyright to Ali Wright courtesy of Opera Holland Park.