Humor Wanes in the Stripped-Down "Barber of Seville

 

At the Royal Opera House in Stockholm, the timeless "The Barber of Seville" takes a minimalist approach, offering a stripped-down rendition. While Rossini's music is skillfully executed by the ensemble and orchestra, the comedy falls short of delivering enough amusement, according to Opera.

"Figaro hit, Figaro there" – Rossini's barbers have graced stages since their breakthrough in 1816. After recent productions in Gothenburg and Malmö, Stockholm now takes its turn. The Royal Opera House, where new talents like Malena Ernman were discovered 25 years ago, has seen the latest set performed a staggering 128 times.

Stepping into the spotlight and claiming the title role is Luthando Qave. Hailing from Cape Town, Qave arrived at Norrlandsoperan at twenty, lacking sheet music literacy. Yet, through the Opera College and internships, he made his mark globally, with Sweden serving as his base. Now, he effortlessly chats Rossini's Italian in rapid sixteenths as a genuine baritone barber, clad in a harlequin costume.

Director Linus Fellbom draws inspiration from the commedia dell'arte tradition, the foundation of Beaumarchai's play. This approach, while toning down in the sequel about the Marriage of Figaro, hints at Fellbom's future exploration with Mozart's opera. The attempt to strip away traditions and infuse fresh updates is a valid notion, but the execution falls short of brilliance.

Seville is reduced to a stark, dark setting, a mere frame for Rosina's captivity under the watchful eye of her guardian, Don Bartolo. The color palette is austere – black and white dominate, props are nearly absent, and costumes and masks engage in a lively brawl. This concept demands precise timing and movement, yet the sharpness in execution is lacking on stage.

The humor, unfortunately, doesn't reach its full potential, and the eccentric costumes fail to evoke sufficient amusement. However, Rossini's humor thrives in the brilliantly executed music, skillfully handled by the ensemble and orchestra. The well-known overture, conducted by the young Italian Vincenzo Milletari, is notably phrased with a lively spirit. While the staging may not hit the comedic mark, the musical performance keeps the essence of Rossini's masterpiece alive at the Royal Opera House in Stockholm.

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