Imagine the Monty Python crew making a foray into bel canto. Or maybe a Carry On particular set in an opera firm with little finances however a prepared supply of Stetsons. Charles Courtroom Opera’s residence turf is the late-Victorian middlebrow silliness of Gilbert and Sullivan, however the firm sometimes ventures into different comedian opera. On this outing directed by CCO’s inventive director John Savournin, Rossini’s Barber of Seville heads to the wild west (cue saloon doorways, bourbon bottles, cowboy hats for all) and revels in a brand new high-energy, rhyme-fuelled English textual content by music director David Eaton. “Having a tryst, sir? I can help, sir”, Figaro advertises in his large Act 1 quantity. Almaviva’s disguised flip as Rosina’s stand-in singing instructor includes a straw hat and lots of ribbon, his line in “Nature! Flowers” whimsy smacking of pure Fotherington-Tomas (“Hullo clouds, hullo sky”) from the Fifties Molesworth books.
It’s all terribly English. There’s an extended custom of English Barbers, after all – proper again to some months after the opera’s UK premiere in 1818, when it was reworked round hits from each Rossini’s and Paisiello’s operas (plus some new music by the tireless adapter Henry Bishop) for efficiency at Covent Backyard. The main woman apparently “accompanied herself on the piano forte with nice style”, however no evaluation information whether or not the viewers discovered it humorous.
At Wilton’s, the decision was audible. There have been roars of laughter for enjoying drunk and colloquial insults, for semi-ironic dancing – free with each duet! – and most of the rhymes. On stage, the vitality by no means flagged. Rossini’s opera is at all times pacy however this slimmed-down model bustled alongside relentlessly, its solid as hyperactive as a lineup of Nineties children’ TV presenters. The standard of singing (normally tailor-made to the intimate area, typically skidding over the coloratura particulars) appeared largely inappropriate.
Because the romantic leads, Joseph Doody and Samantha Value have been sympathetic, although there was little room for emotion amid a lot whirling panache. Hugo Herman-Wilson had energy to burn as a skunk-toting, black nail varnish-wearing “Dan” Basilio and if Laurence Olivier had executed panto, he might need approached Jonathan Eyers’ Figaro. One actually stellar musical efficiency happened offstage, nonetheless. David Eaton served up your complete rating on piano, capturing as a lot of Rossini’s sparkle and wit as you possibly can hope for with 10 fingers – and simply sometimes discovering moments to permit the music to breathe, unfurl and converse.
