Reviews 2004
Reviews 2004
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by Gioacchino Rossini, directed by Mark DuBois
Opera York, Markham Theatre for Performing Arts, Markham
February 6, 2004
February 6, 2004, marked an important step in the development of Opera York. This single performance of Rossini’s The Barber of Seville at the Markham Theatre for Performing Arts was the company’s first fully staged opera with orchestra. Founded in 1995, Opera York has previously presented operas in concert at various venues and has an extensive programme of Opera for the Schools. Given the enthusiastic response this Barber received, the company obviously fills a need for opera in the growing York Region.
Tenor Eric Shaw gave the most impressive performance of the evening as a golden toned Almaviva tossing off beautifully controlled runs. For once Almaviva’s disguise as a lisping “Don Alonso” was actually funny.
Baritone Andrew Tees, who entered by seating latecomers, made an enjoyable bear-like Figaro who best embodied the opera’s spirit of fun. Corinne Lynch sang with a light, lovely soprano as Rosina. With his cavernous bass John Doddington made this Don Basilio, much given to petty theft, a more humorous character than usual. Ross Darlington was not up to the demands of Dr. Bartolo.
Opera York Artistic Director Mark DuBois was both conductor and stage director of this fairly rough and ready production that reached its greatest precision in the rousing Act 2 finale. It would have been preferable to uncover more of the pit to hear the natural sound of the 20–member Opera York Orchestra rather than to mike, mix and amplify it which, contrary to the intention, resulted in a muffled, tinny accompaniment.
©Christopher Hoile
Note: A version of this review appeared in Opera Canada 2004 Summer.
Photo: Cast of The Barber of Seville. ©2004 Opera York.
2004-02-07
The Barber of Seville