The Barber of Seville performed its last show of the season yesterday afternoon to a packed house at the Arts Centre. And what a performance it was…
Melbourne is renowned for it talent and professionalism in the arts in all areas including theatre, film, ballet, orchestral, jazz, rock and the painterly endeavours.
Attending a theatrical performance in the afternoon, a matinee, is a real experience and treat. Even more so in this case as The Barber of Seville’s season had come to a close, its last performance on the afternoon before Mother’s Day, something special for all opera lovers wanting light entertainment and music to delight the senses for the afternoon and hopefully that feeling lasting for the rest of the evening…
(This BLOG entry is not a “proper” review of the performance as my experience is limited with opera and, dare I admit, an art form dismissed as an artefact of history.)
Let’s just admit here and now that The Barber of Seville was above all entertaining, humorous in all aspects of the play, but more so, the orchestra, The Victorian Orchestra, was absolutely superb, as the string section merged as one at the very start, the five violinists becoming one magical note…Figaro (Luke Gabbedy) prancing onto the stage, bragging and singing his own praises… An excellent performance and memorable because of the artists obvious love of his art form, having a great time, making it look so easy…
Rosina (Emma Matthews) was delightful on stage, her singing right on the mark until she needed to hit the high C: the woman did indeed reach high C but it sounded strained, however, (uncomfortable) the audience loved her because her performance was consistently excellent, funny and endearing. Although opera seems a natural profession for the woman, she has the stage presence to do anything in the theatre including, possibly, film… a charming performance.
Count Almaviva (Henry Choo) despite a believable performance, a beautiful voice and acceptable acting, does not in any way appear Italian; if one closes their eyes and listened to his voice, would imagine a young and beautiful prince…but opening one’s eyes, sees a little Asian man with a wonderful voice. Does this disappoint for the audience, seeing an obviously miss-cast-looking man, an Asian playing an Italian? During the loveliest songs, my eyes closed and everything flowed, Henry Choo rising to the occasion and doing a splendid job. A wonderful performance, natural and heart-felt, an impressive show…
My favourite performance had to be Fiorello, Almaviva’s servant, a character, despite not singing one note, carried the show, bent over, scurrying across the stage helping every actor, maintaining the necessary “lightness” that is so important to the Barber of Seville”. All ways a popular character across the ages since this opera was first performed so long ago.
Even though my experience with opera is less than acceptable, my training less than a neophyte, an ignorant beginner, The Australian Opera’s rendition of The Barber of Seville would stand with the best performances through out time.
Melbourne is renowned for it talent and professionalism in the arts in all areas including theatre, film, ballet, orchestral, jazz, rock and the painterly endeavours.
Attending a theatrical performance in the afternoon, a matinee, is a real experience and treat. Even more so in this case as The Barber of Seville’s season had come to a close, its last performance on the afternoon before Mother’s Day, something special for all opera lovers wanting light entertainment and music to delight the senses for the afternoon and hopefully that feeling lasting for the rest of the evening…
(This BLOG entry is not a “proper” review of the performance as my experience is limited with opera and, dare I admit, an art form dismissed as an artefact of history.)
Let’s just admit here and now that The Barber of Seville was above all entertaining, humorous in all aspects of the play, but more so, the orchestra, The Victorian Orchestra, was absolutely superb, as the string section merged as one at the very start, the five violinists becoming one magical note…Figaro (Luke Gabbedy) prancing onto the stage, bragging and singing his own praises… An excellent performance and memorable because of the artists obvious love of his art form, having a great time, making it look so easy…
Rosina (Emma Matthews) was delightful on stage, her singing right on the mark until she needed to hit the high C: the woman did indeed reach high C but it sounded strained, however, (uncomfortable) the audience loved her because her performance was consistently excellent, funny and endearing. Although opera seems a natural profession for the woman, she has the stage presence to do anything in the theatre including, possibly, film… a charming performance.
Count Almaviva (Henry Choo) despite a believable performance, a beautiful voice and acceptable acting, does not in any way appear Italian; if one closes their eyes and listened to his voice, would imagine a young and beautiful prince…but opening one’s eyes, sees a little Asian man with a wonderful voice. Does this disappoint for the audience, seeing an obviously miss-cast-looking man, an Asian playing an Italian? During the loveliest songs, my eyes closed and everything flowed, Henry Choo rising to the occasion and doing a splendid job. A wonderful performance, natural and heart-felt, an impressive show…
My favourite performance had to be Fiorello, Almaviva’s servant, a character, despite not singing one note, carried the show, bent over, scurrying across the stage helping every actor, maintaining the necessary “lightness” that is so important to the Barber of Seville”. All ways a popular character across the ages since this opera was first performed so long ago.
Even though my experience with opera is less than acceptable, my training less than a neophyte, an ignorant beginner, The Australian Opera’s rendition of The Barber of Seville would stand with the best performances through out time.
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