Rita Paskowitz on The Barber of Seville

I didn’t grow up listening to opera.

Aida? Carmen? No.
Westside Story? My Fair Lady? You betcha.

So when I attend an opera, I do my homework.
I read up on the composer. I pore over the synopsis.
I want to know what I’m watching once I get there.

When I was invited to review the dress rehearsal of Opera Omaha’s production of The Barber of Seville, the Googling began.
I learned about Rossini’s prolific career. The opera’s plot. The meaning of the characters’ names.

But when the lights went down, what entranced me was the music. The overture was simply—dare I use a food metaphor—delicious. As was the set. And when the cast began appearing, I was hungry to see the plot unfold. And get a taste of the starring characters.
Sorry. No more food imagery.

Figaro did not disappoint. His presence demanded my attention whenever he appeared onstage. As did Rosina’s. These two brought the story to life—with Figaro’s wiliness and Rosina’s love for whoever that man was that wooed her from beneath Bartolo’s balcony. Their energy and commitment to their roles kept me engaged whenever lesser characters or some plot confusion briefly slowed a scene down.

The lovesick Count Almaviva really came into his own as he became other characters to woo and finally wed the tempestuous Rosina. Her guardian also picked up steam as the plot thickened.

The set was malleable and used in interesting and surprising ways. Logic be damned—every change added to the fun.

Yes, it was a long-ish evening. While categorized as opera buffa—a light Italian comic opera—the production could have used a bit more buffa.
But, as stated earlier, I viewed the last full rehearsal. Aside from me, the audience consisted of a balcony filled with students and a tiny smattering of adults in the orchestra section. While we all responded accordingly, there wasn’t that magical spark that only a full house can bring.

That said—Friday night should be electric.

I may spend it streaming Aida.