CAMBA, Andrea Melisa R.

OPERA 2

WICHITA GRAND OPERA’S

Il barbiere di Siviglia

PLOT SUMMARY ACT 1

In Seville lives Doctor Bartolo who keeps Rosina, his ward, confined inside his house.

One night, Count Almaviva comes in disguise to serenade Rosina but was not that successful in

proclaiming his love. He then met Figaro the barber who is familiar with all the town’s secrets

and scandals and explains to him that the doctor is set to marry the young lady. The witty

barber formulated a plan for the count to achieve his heart’s desires—in exchange for a fairly

good amount of course.

Rosina on the other hand is still hung-over the beautiful voice that serenaded her. The

count in disguise made her believe that he is a poor student named Lindoro. Meanwhile, Don

Basilio, Rosina’s music teacher, warns Bartolo that Almaviva is in town to pursue the lovely

Rosina. He decides to marry Rosina immediately. Figaro overhears the plot. He informs Rosina

about it and promises to deliver her letter to Lindoro. Bartolo, of course is suspicious of his

ward but she outwits him. Bartolo establishes his superiority over Rosina and warns her not to

get involved with the count.

Almaviva arrives as a drunken soldier and secretly relays his own note for Rosina. A

commotion obviously develops inside Bartolo’s house. Suddenly, the civil guards bursts in to

arrest Almaviva but when he reveals to the captain his true identity, he is released instantly.

Everyone is amazed by the turn of events except for Figaro.

ACT 2

Bartolo questions the real identity of the “soldier” and suspects that it is really Almaviva

in disguise. The count returns but this time as Don Alonso—a music teacher who will substitute

for the “sick” Don Basilio. Don Alonso tells Bartolo that since he is staying at the same inn as

Lindoro, he found out that Lindoro is just toying with Rosina’s feelings. Because of this, he earns

the trust of the poor doctor. During their music lesson, Almaviva and Rosina declare their love

for each other.

Figaro arrives to give Bartolo his shave and is able to snatch the key to Rosina’s balcony.

Suddenly, Basilio shows up looking healthy. Almaviva, Rosina and Figaro then bribe him to go

home and because of his “scarlet fever”. After the commotion, the two lovers plot to elope that

evening. Unfortunately, Bartolo overhears them and becomes furious of the fact that he got

tricked once again. When Don Alonso and Figaro left the house, Bartolo tells Rosina that

Lindoro plans on selling her to Count Almaviva. Furious and disappointed, Rosina agrees to

marry the doctor. Bartolo is pleased and asks Basilio to call a public notary over.

That same night, Almaviva and Figaro sneaks in Bartolo’s house though the balcony

window. Almaviva explains everything and reveals his true identity to Rosina. The notary arrives

at that moment and the two decide to get married. Bartolo enters the room but it was too late.

He accepts his defeat and Figaro, Almaviva and Rosina all celebrate the good outcome of their

fortunes.

OVERALL REVIEW/CRITIQUE

The Barber of Seville is probably one of my favorite operas. Beautiful music, well-

developed characters and witty humor all in one piece of work is truly a gift. Obviously I had

high expectations before watching the video since the production features world-class singers

Joyce DiDonato, Stefano De Peppo and William Browning—and I am just beyond ecstatic that

this particular production of Rossini’s masterpiece did not disappoint at all.

DIRECTION

I’ve always believed that good direction is the main key in producing a good show. The

Barber of Seville is James Marvel’s Wichita Grand Opera debut, and he truly made an

impression. Based on his profile, he is known for balancing realistic, believable characters with

outrageous comedy—and these descriptions were truly manifested all throughout the show.

His actors focused on truth and authenticity which was very effective into making the story

convincing.

SET DESIGNS/COSTUMES

I was not too crazy about the set design and costumes but it didn’t really matter for me

because the artists’ energy really came through and surpassed the aesthetic aspect of the

show.

CHOREOGRAPHY

I really loved the blocking and choreography! All movements and positions were more

than just for visual purposes—they contributed to the effectiveness of every scene. The arias

and ensemble numbers were easier to comprehend because the choreography served as visual

assistance to the audience.

ARTISTS

More than anything else, the artists—the singers in particular—are the filling of the

opera. All else may fail but not the singers. Yes, that much pressure to them, but that’s the

truth. The success of the opera greatly depends on how well the singers deliver.

The Winchita Grand Opera featured Steffano De Peppo as the barber, Figaro. The way he

played with his character was fantastic. He maintained his humor and liveliness during the

entire show and his chemistry with the other actors—especially with Almaviva—was just

superb. Vocally, there was no question that he is a perfect fit for the role. I truly felt the

exuberating energy and emotion in every aria that he sang.

Almaviva was portrayed by William Browning. I think that he did a fairly good job as the Count

but it was not that amazing for me. His performance vocal wise was not very consistent—

particularly his running notes. There were times where it was clean and clear but unfortunately

it was balanced by unstable passages. His interpretation though with the role was effective, in

terms of the acting aspect. Like De Peppo, his humor and energy were effective in developing

his character since everything was genuine and realistic.

The show wouldn’t be a success without the magnificent Joyce DiDonato as Rosina. She really

has the inner Rosina her. Musically and/or vocally, she graced all her pas sages and phrases with

ease and you’ll really feel how effortless she moves with the music of the orchestra. Of course

her interpretation of Una voce poco fa is one of the show’s highlights.

Generally speaking, all artists delivered a high standard of performance. Everyone was

believable in what they are doing and they all possessed authenticity and genuineness which

made the story easier to understand and relate to.