Barberneeds inventive direction to come to life; otherwise it can be as tiresome as aparty that never takes off. Theisen uses some traditional approaches, such asslow-motion action in the act one finale, and throws in many others. Most ideaswork and create character and laughs, though asking the maid Berta toconstantly sneeze wore thin very quickly. Van Santvoord's pretty sets were largelycustomary. It was a surprise to see the interior of Bartolo's house, usually anaristocratic space, show the dowdiness of an old bachelor.
On Saturday evening tenor Gregory Schmidt wasindisposed. He sang recitatives only, and otherwise acted Count Almaviva whilePeter Voigt sang on the side of the stage. The result was a strange mix ofventriloquism and silent movie. Even acting, it was difficult to believe inSchmidt as someone so impulsively carried away by emotion that he goes tooutlandish extremes. Voigt's voice is small but agile and right for the style.As Bartolo, Jason Budd is an expert comic actor, but only passable as a bassobuffo opera singer. I've never heard a belcanto role sung so casually, more musical theater than opera.
Andrew Wilkowske is an energetic, happy-go-luckyFigaro. His vocal performance was likable enough, with bright sound, though hewas not completely at home in the quick running notes of the music. As Rosina,mezzo-soprano Katherine Pracht was lovely and made this ingénue-with-a-hint-of-vixenpart interesting. She is an engaging singer with a good voice, but it is not aperfect fit for Rossini's coloratura.
Daniel Klein's Basilio was the most originalperformance. Usually played as a prissy busybody, Klein gave the role somewacky masculine menace, costumed with dark Spanish garb and carrying mysteriousbaggage. Pasquale Laurino's conducting and the orchestra's playing wasserviceable, though the string sound was noticeably thin.
