THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Sunday, March 10, 1996 TAG: 9603100042
SECTION: LOCAL PAGE: B4 EDITION: FINAL
TYPE: Music review
SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
LENGTH: Medium: 76 lines
In just a month, the Virginia Opera has successfully shifted gears from the powerful drama of Wagner's ``The Flying Dutchman'' to the sparkling comedy of Rossini's ``The Barber of Seville.'' The delightful sets seen at Friday evening's opening have been used before, in the company's 1990 production, but the cast was all new to the stage of the Harrison Opera House.
Despite illness that kept internationally known mezzo-soprano Zehava Gal from performing, the performance was highly musical and individually dramatic.
Skillfully directed by Johnathon Pape, the singers kept the action moving with visual details that gave depth to the simple story. While there were many moments of slapstick comedy, the leading characters had endearing qualities that drew the sympathy of the audience. The entire cast was a well-matched ensemble.
In the title role, James Bobick moved the story along as he tied it together. His commanding presence was felt as the other characters dealt with their difficulties. At times, he stepped back to watch them, though more often he seemed to be controlling the strings of several marionettes.
Bobick had similar control of his rich and flexible voice. He kept up with the fast pace of Figaro's entrance aria, ``Largo al factotum,'' using superb diction and clever props to tell his story. In his many recitatives, his gestures and vocal coloring helped communicate with other characters and with the audience.
Stepping in for Gal, who is expected to return for today's performance, mezzo-soprano Desiree Halac seemed at ease, though this was only her second time to play the young Rosina.
The uncertainty she showed at times was only that of her character, falling in and out of love, always questioning the influence of her guardian, Dr. Bartolo.
As in Figaro's entrance, Rosina needs to make an immediate impression with her first aria, the brilliant ``Una voce poco fa.'' And like Bobick, she sailed through the challenging aria, maneuvering her light voice through the dazzling coloratura. She remained at this high level all evening.
As Count Almaviva, tenor Keith Buhl did not always manage his coloratura as neatly, tending to push his high notes sharp. He gained full control, however, as the opera progressed. As Almaviva dons several disguises to hide his high social status, Buhl was particularly effective as an inebriated soldier and as Rosina's substitute singing teacher.
Bartolo, the classic buffo bass, was played by Rod Nelman, who appeared and sounded ideal. Always thwarted in his attempts to keep control of Rosina, and in fact to marry her, he fought on, admitting defeat only at the very end. His falsetto voice was also quite strong. Bass Dong-Jian Gong's power brought a serious intensity to his aria, ``La calunnia.'' Elsewhere, he was a strong member of the comedic ensemble.
Replacing Halac, who was scheduled to play the role of Berta, Bartolo's maid, soprano Malinda Haslett hustled and bustled, stirring up the comedy wherever possible. Her voice filled out ensembles nicely and had a moment to shine in one aria, which was topped off by a well-placed, though somewhat surprising, high note. Baritone Steven Anderson had a pleasant voice as Fiorello, the servant in the opera's first scene.
The robust chorus of 12 men was not seen often, but when on stage, it filled its role well. Prepared by Peter Pasztor, it performed as a tight-knit group, getting the first act off to an amusing start and filling out the finales of the other two acts. The men's hilarious performance in the second-act finale showed a clear connection to the Gilbert and Sullivan tradition.
Members of the Virginia Symphony played with energetic precision under the well-paced direction of Peter Mark. In his enthusiasm, he often led the orchestra to a dynamic level that overpowered the lighter voices in the cast, covering up both ornamental details and significant dramatic lines. At the harpsichord, Pasztor tied the pieces of the opera together by keeping the recitatives moving and adding several humorous details of his own. by CNB