Baltimore Opera Theatre’s “Barber,” a blast, full of energy and good humor.
When Baltimore Opera Company announced somewhat unceremoniously that it was closing its doors a couple seasons ago opera goers in the greater Baltimore area were understandably shocked and more than a little disappointed with the news and abruptness of ticket nullifications. The closing came as a surprise to everyone.
Baltimore Opera produced good operas; its shows were enjoyable and its talent pool was wide and deep. When it closed everyone asked: what comes next? What entity will take its place? Indeed, will any company step in to fill the void?
This year a new (in name only) entity, comprised of performers and creative talent from the venerable Teatro Lirico D’Europa, a touring company that has thousands of performances under its belt and is no newcomer to those of us who have followed its performances over the years, has stepped in to fill the void, and in its first season at Baltimore’s restored Hippodrome Theater offered one of Rossini’s most popular operas, “The Barber of Seville.”
I viewed this performance at the Hippodrome on Sunday afternoon, November 22, and while not a big fan of the music style and era in which Rossini composed I found myself, nonetheless, drawn into the music and story of Count Almaviva’s pursuit of the lovely Rosina, with the help of the jack-of-all trades barber of Seville, Figaro. And since every show needs a villain (sort of), this one has one too. Determined at every turn to see that this union never occurs is Rosina’s older guardian and curmudgeonly other suitor, Dr. Bartolo.
It was a delightful performance, staged nicely and lit beautifully by Giorgio Lalov. It was a show peopled with an ensemble cast of seemingly indefatigable performers and a 39-piece orchestra that brought the house to laughter and earned solid applause at final curtain.
Simply put, the show was a blast, full of energy, good humor, outstanding individual and ensemble performances and solid production value. I have learned over the years that quality shows is what to expect from this company, and this time, as others, it did not disappoint. Indeed, the production value seems to have steadily improved. It’s a high water mark, actually, and a good place for this company to remain, since Baltimore audiences will undoubtedly appreciate the effort.
As for specifics, Bulgarian-born mezzo soprano Viara Zhelezova, singing the role of Rosina, was simply magnificent. Her acting was natural and fluid and her vocal delivery was flawless. She navigated through the sixteenths with seeming ease, displaying remarkable agility and sweetness, never missing the tempo. I was in awe of her stamina and infectious talent throughout. Brava!
Many deserved kudos go out to this cast, most notably the veterans Hristo Sarafov, singing the role of Dr. Bartolo and basso Konstantine Videv, singing the role of Don Basilio. Wow! When these two were on stage together, the dynamic was electrifying. As I have noted in the past when reviewing this opera with other companies, if these roles are done right they can make this opera soar and Sunday afternoon both singers were on their game, in every way, and the opera soared. Mr. Sarafov especially, won over the audience with a performance that was amusing and vibrant with energy and good humor. He captured the nuance of Dr. Bartolo wonderfully and never missed the opportunity to exaggerate Bartolo’s obsession, without ever sinking into silliness. Bravo!
Singing the role of Count Almaviva “aka” Lindoro (a disguised student) and “aka” Don Alonso, a supposed assistant of Don Basilio, was American-born lyric tenor Benjamin Brecher. The male vocal cord isn’t as flexible as the female and singing parts written by Rossini, Handel, Mozart, to name a few is, for most male singers, a noticeably uncomfortable undertaking for the singer and the audience. Mr. Brecher handled himself nicely, though. In spite of this compositional liability, which is not the singer’s fault, I found Brecher’s take on all his characters a solid plus to this production. I have seen him perform this role before and he fits the character well and obviously enjoys himself (and his characters’ antics) on stage.
Lyric baritone Petar Danailov singing the role of Figaro projected a strong and pleasant baritone (we should see more of him) and handled himself with ease on stage. He was a huge “plus” for this production as was mezzo-soprano Jo-Anne Herrero, singing the role of Berta, the maid, who actually gave the comprimario role real star quality and punch. Very nicely done. Also, “a tip-of-the-hat” to baritone Vladimir Hristov, singing the role of Fiorello, demonstrating the depth of this company’s lead and second singer ranks.
Markhan Thakar, conducting, did a superb job, one that it was clear even he was pleased with. The orchestra complimented the performers and storyline and rendered a finely honed interpretation of what Rossini clearly intended.
All in all I would have to say Baltimore’s brief opera draught has ended. Opera has returned to the city with a new company on the block, which is not so new, actually, and getting better all the time, Baltimore Opera Theatre. This “Barber” was a delightful and well-done comic success. Congratulations!
OperaOnline.us – Paul Joseph Walkowski – 11.22.09
New opera company shows promise in its first production
Petar Danailov was a buoyant, assured Figaro with a generally solid baritone and considerable stylistic flair. Benjamin Brecher, as Almaviva, had some trouble with top notes, but otherwise offered sure technique and elegant phrasing in his arias. The tenor also proved to be a witty actor in his two big comic scenes.
Viara Zheleova brought an ample, vibrant mezzo and abundant personality to the role of Rosina. A little more tonal coloring would have been welcome here and there, but this was very potent vocalism.
As Dr. Bartolo, Hristo Sarafov gave a good old-fashioned, burly, buffo performance, hamming it up mightily and enjoyably. Konstantine Videv’s singing as Don Basilio was a little dry, but reflected solid experience in the Rossini idiom. Jo-Anne Herrero’s Berta was so vibrantly sung that it was a pity her aria was cut.
BALTIMORE SUN – Tim Smith – 11.23.09
Dear Ms. Kelly,
My entire family ( 2 parents and 3 kids ages 9 -17) attended IL BARBIERE DI SIVIGLIA at the Hippodrome Theatre on November 22. We made the drive all the way from Silver Spring, MD because the opera was presented on a Sunday afternoon and the price was family friendly. We enjoyed the performances very much! We thought the singers were excellent and the staging was very funny! We laughed a lot! We also enjoyed the lecture given by Mr. Powers before the opera.
Thank you for providing a delightful afternoon of opera at affordable prices with a theme children could also enjoy!
Dan Bosworth – Silver Spring, MD
Dear Mr. Lalov,
IL BARBIERE was a treat! We were frankly very surprised that anyone in Baltimore would be able to put together a full-scale opera production in these hard economic times with such charming sets and costumes, a full orchestra and such outstanding soloists. We were particularly taken with the voices of the FIGARO and ROSINA and the direction of Maestro Thakar. From where we were seated there were absolutely no problems hearing any of your singers or the orchestra. We felt the acoustic was in fact excellent. The Hippodrome is an elegant and clean venue! We are looking forward to RIGOLETTO in March. Keep up the good work!
Dr. Alexander Blaustein – Baltimore, Maryland
I’m not alone in hoping that Giorgio Lalov, the talented singer turned creator of Teatro Lirico stays well, healthy and continues to bring us such magnificent productions. We can only hope to see more from this company in years to come.
ILLINOIS TIMES – Ann Kerr
The physical productions and Lalov’s stagings were reassuringly traditional and tell the story clearly. The solo and ensemble singing in all three operas was lusty, whole hearted, full-throated, and honest…something personal and passionate that is often missing from evenings of opera in prestigious venues…resounding chorus and experienced orchestra.
OPERA NEWS – Richard Dyer
Boston Sparkling Barber!
The Cutler Majestic was at near capacity for the single performance of IL BARBIERE DI SIVIGLIA. Rossini demands phenomenal vocal and verbal dexterity from the entire ensemble - and great comic timing. It may have been the best production of this familiar opera I’ve ever seen. This was very much a cast-centered enterprise. Artistic director Giorgio Lalov is a conventional, ungimmicky stage director – but there was always a point. The audience was laughing at all the jokes because the action was always clear and followable. Here was a perfect example of a cast working together. Each character related to each of the others and felt comfortable with each other. Rosina, mezzo-soprano Viara Zhelezova, with her long dark hair and sly smile, is more like a Bulgarian Julia Louis-Dreyfus, with equally impeccable comic timing, who has the luminous voice and dazzling coloratura of Cecilia Bartoli. I don't know why she is not a major star. The singers maintained a lively pace, and there was never a dull moment. Too bad there was only one performance.
BOSTON PHOENIX – Lloyd Schwartz – Jan. 2005
Barber scores big at the Phil
A good production of “Il Barbiere di Siviglia (The Barber of Seville)” is a laugh a minute. The production at the Philharmonic Center for the Arts was one of opera’s best advertisements, full of quirky personalities, a welcome happy ending and bel canto – literally, beautiful singing – arias, yet it’s grueling work. The coloratura score looks like bird tracks, sprayed with triplets and four-note runs. Its orchestral score can overpower it, and the successful production demands broad personality portrayal, agile vocals and orchestral flexibility. This production, at the Philharmonic Center for the Arts, was a credit to the composer. Peter Danailov, as the conniving jack of all trades, Figaro’s vocals are flawless. He is a strong and facile baritone whose cagey character picks up steam to match his impressive voice as the story progresses. Viara Zhelezova proved to be a consistently satisfying Rosina, full of comic wit, vocally somersaulting her tricky arias. Benjamin Brecher is the ardent Almaviva, and he possesses a voice perfect for the role, vulnerable and flexible. This was one of the happiest evenings an opera lover could have spent on the town in Naples.
NAPLES DAILY NEWS – Harriet Howard Heithaus – Jan. 2009
RIGOLETTO Steals Hearts!
RIGOLETTO proved to be yet another in the company’s string of successes in what’s becoming an eagerly anticipated annual Boston residency. Lucky Boston! Artistic director, Giorgio Lalov, trusts opera and the singers who put their throats and hearts on the line for their art and us every night. Not for one minute did Lalov’s staging follow the modern approach seen far too often by trying to improve on the beautiful original, which speaks so eloquently for itself. Here there were no gimmicks, no tricks, just Verdi’s tale from the composer through the singers to us. Heaven.
BOSTON HERALD – T. J. Medrek – Mar. 2004
