Ride 'em Figaro!

This review of Charles Court Opera’s production of ‘The Barber of Seville’ at Wilton’s Music Hall cannot claim to be in any way objective as my son, Hugo Herman-Wilson, is one of the cast members, but my enjoyment of the performance I saw (Tuesday 12th March) was so sincere that I simply must express it!

The production, by Charles Court Opera supremo John Savournin, is wittily and plausibly set in the late 19th century American Wild West, and we get something of Puccini’s ‘Fanciulla del West’ as a dramatic pre-echo. To continue with that analogy, there are certainly hints of Minnie in Meriel Cunningham’s Rosina, of wicked sheriff Jack Rance in Matthew Kellett’s Bartolo, and most particularly, of bandit Dick Johnson in Joseph Doody’s Almaviva, disguised as the outlaw Lindoro.

The simple but effective single set is Bartolo’s saloon, and, as Savournin says in a conversation reproduced in the programme, this makes the continual comings and goings seem perfectly natural. This rather down at heel establishment fits well into Wilton’s shabby chic, so that the auditorium becomes an extension of the cowboys’ watering hole, adding a very special intimacy to the proceedings.

Local ‘Western’ colour is also provided by music director David Eaton’s consummate English singing translation. This occasioned regular guffaws from the audience, but also provided moments of sophisticated cleverness that would have pleased Alexander Pope: ‘Having a tryst sir? I can assist sir!’. There is also Figaro’s delicious in joke when detailing his schedule: ‘I have to give James Wilkes Booth a haircut – he’s going to the theatre this evening.’…

So, a wonderfully effective production, but I can’t agree with Flora Wilson in her largely positive ‘Guardian’ review that ‘the quality of singing…seemed largely beside the point’. In fact, the vocal quality was very high. Jonathan Eyers was a dashing, vocally elegant Figaro – has the role ever been sung by a baritone as tall? – and, along with the rest of the cast, broke into dance to the manner born – special shout out to Movement Director Blair Anderson.  As Rosina, Meriel Cunningham, demonstrated an opulent mezzo, with astonishing Clara Butt – like low notes (I mean this as a profound compliment) and a gleaming upper extension. She is also a very accomplished comedienne – if ever a ‘Carry On’ opera is written, she’d be perfect casting for Joan Sims. As Almaviva/Lindoro, Joseph Doody made light of the role’s formidable demands and was every inch the romantic male lead (although, like most tenors, he is not particularly tall, and this occasioned a knowing aside from Rosina). Matthew Kellett was an appropriately brutish Bartolo, and treated us to some exciting top notes – I think he’d make an excellent Rigoletto and Iago if he felt so inclined. Ellie Laugharne and Arthur Bruce were luxury casting as Berta and Fiorello/Officer, and as for Hugo as ‘Dan’ Basilio, his mother and I thought he was very good…

Dramatic values were exceptionally high and diction universally superb; David Eaton worked wonders at the piano – an orchestra was not missed – honestly!!

This is a fine production which deserves full houses for all performances and would be perfect for operatic novices of any age. But it will also give huge satisfaction to jaundiced old hacks like me. Bravi Tutti!! GO!!!!