Figaro rides again...

A brief up-date on Charles Court Opera's 'The Barber of Seville' at Wilton's Music Hall. A return visit to see the alternative Almaviva and Rosina confirmed my impression (see 'Ride 'em Figaro') of a fizzingly entertaining show that triumphantly demonstrates the possibility of modestly resourced opera providing sterling production and musical values.

The show had bedded down very nicely, with familiar figures refining their performances. Jonathan Eyres' Figaro is now even more commanding, and the high speed patter at the end of his aria was exemplary in its clarity and expressiveness. Matthew Kellett's Bartolo has increased still further in incisiveness and detail, while Hugo Herman-Wilson, ('Dan' Basilio), is still my son and I, and his mother, are still very proud of him. Ellie Laugharne and Arthur Bruce as Berta and Fiorello/Sheriff again proved the old adage that there are no small roles only small performers, and they are definitely artistes of considerable stature.

As for the newbies, John Gyeanty as Almaviva demonstrated an unfailingly sweet lyric tenor with admirably neat and precise articulation of his florid music. He is a likeable performer with a style that is authentically Rossinian. Samantha Price as Rosina does not have the booming bottom register of Meriel Cunningham, but her very attractive mezzo was admirably even throughout the range and her vocal runs clear and well-supported. I was also charmed to catch some authentic South Wales' pronunciation as she sang 'sit yere' rather that 'sit here', proof that, in common with the rest of the cast, the clarity of her diction is impeccable.

My final impression of this life-affirming production is one where the whole is even greater than the sum of the unfailingly excellent parts. Credit to all concerened, not least to Director John Savournin and Musical Director David Eaton. Ah, bravo Figaro, e bravi tutti!!