We go back in time to revisit the ENO production of Rossini’s fun Opera “The Barber of Seville” at the London Coliseum, in classical costume, set in 18th century Seville. As fun evenings go – this was just outstanding. I am lost for words.
It is true. Both at the end of the Act 1 – and then again at the Finale, after some 10 minutes of continuous and persistent applause for just a standout performance – I looked at the young lady sitting next to me, and who I had never met before in my life – and opened my mouth to say something – and no words came out. And we looked at each other. There are times in your life when you know you have experienced something magical – and no words need to be said.
This was an evening of sending a message. The entire orchestra – I was seated just a few rows back from the orchestra pit – were dressed in yellow T Shirts, with the hashtag We are ENO! Sure, this is comedy – but we are serious about it!
Roderick Cox, the conductor, strides on, a quick glance around – a moment of hesitation – and before you know it, the orchestra is away and running. It is precise, very sharp. And yet not quite.
For once, the ENO orchestra is not the glue that holds everything together. It will take a few more minutes before Charles Rice as Figaro himself, bounds onto the stage, clipping hair as he goes, waving his scissors.
And then everything is clear. This performance and production is about the singers. It does not take too long before Anna Devin as Rosina, and Simon Bailey as Dr Bartolo, enter the stage, and suddenly, we are into a continuous, never letting up stream of singing perfection, incredible close harmonies, subtle moments of humour almost in every phrase, and very clever direction – it just takes your breath away.
This is a Whitehall farce from just down the road, but set to music. True, there are moments of spoken word – to deliver a joke, a subtle remark. And then we are off again, into yet another beautiful aria and slapstick comedy. Every possible avenue for squeezing out some additional humour – but set in a classical operatic style.
I think it is this incongruity that is the secret sauce of this performance. Anna Devin in Act 1 particularly has astonishing technical ability in some of Opera’s most difficult arias, as her colleagues are running around and falling over.
Innocent Masuku, returning to ENO as Count Almaviva, excels in Act 2, extremely funny and completely over the top in mannerisms, – we sit in wonderment as to how on earth will he get the girl?
True, this is not a Mozart performance, the melodies are just not there. But that is not the point or the intention .
This is ENO saying – we know how to do mainstream Opera, and – as I look over my shoulder at the end of the performance and see the rows of people standing, shouting, smiling – it is clear they are not wrong.
“The Barber of Seville” has 5 more performances at time of writing, including a late morning Matinee.
