The Barber of Seville: Wit, Love, Laughter and Shared Joy
Summer season opening night at San Francisco Opera arrived with one of opera's most beloved comedies, Gioachino Rossini's The Barber of Seville. At more than three hours, it felt longer than many modern productions. Yet the additional arias given to the young lovers add depth and warmth, making their journey toward each other feel more complete and emotionally satisfying.
Set in Seville, the opera follows Count Almaviva as he attempts to win the heart of Rosina, a spirited young woman who is being closely guarded by her older guardian, Dr. Bartolo, who hopes to marry her himself. With the help of the resourceful barber Figaro, Almaviva adopts a series of disguises to gain access to Rosina, setting off a chain of misunderstandings, deceptions and comic mishaps before true love ultimately prevails.
The production's visual world is both traditional and whimsical. As Rossini's famous overture unfolds, a large composer-like white bust presides over the stage while performers dressed in white drift through dreamlike choreography beneath a glowing moon. Emilio Sagi's staging, complemented by Llorenç Corbella's sets and Pepa Ojanguren's costumes, creates a timeless vision of Seville that feels playful rather than overly realistic. The predominantly white palette gradually gives way to richer colors as the story gains momentum.
The musical performances proved equally engaging. Joshua Hopkins brought charm, confidence and humor to Figaro, the barber who orchestrates much of the action. His famous entrance aria, "Largo al factotum," remains one of opera's great introductions, as he boasts about being the man everyone in Seville depends upon.
As Rosina, Russian mezzo-soprano Maria Kataeva, making her American debut, was a standout. Her opening aria, "Una voce poco fa," begins as a declaration of romantic longing but quickly reveals Rosina's determination, intelligence and independence. Standing in a pool of bright light and blowing kisses toward a letter from her secret admirer, Kataeva portrayed a young woman who is far more capable of directing her own destiny than those around her realize. Her voice combined warmth, agility and brilliance while maintaining clarity throughout Rossini's demanding passages.
South African tenor Levy Sekgapane brought youthful energy to Count Almaviva. While his serenades and disguises drive much of the plot, his finest musical moment arrives near the conclusion with the demanding aria "Cessa di più resistere." Rarely performed because of its difficulty, the extended aria serves as Almaviva's declaration of love before his marriage to Rosina. Sekgapane delivered it with confidence and stamina, creating one of the evening's highlights.
The supporting cast contributed substantially to the production's success. Renato Girolami's Dr. Bartolo was wonderfully pompous and exasperated, while Riccardo Fassi's Don Basilio supplied a steady stream of comic mischief.
One of Rossini's gifts as a composer is his ability to place multiple characters on stage at once, each pursuing different goals while singing overlapping musical lines. Characters sing simultaneously yet
remain distinct, allowing confusion, comedy and competing intentions to unfold all at once. The result is lively and entertaining, requiring remarkable coordination between the singers and orchestra.
Although I found Act I somewhat long, Act II quickly changed the pace. The energy picked up when Almaviva returned disguised as Don Alonso, a substitute music teacher sent to replace Basilio. From there, disguises piled upon disguises, plans unraveled and misunderstandings multiplied. Rosina and Almaviva's attempted elopement failed before ultimately giving way to the marriage everyone except Bartolo hoped to see.
Even the policemen became comic characters in their own right. Summoned by Bartolo as stern authorities to restore order after Almaviva's drunken-soldier antics, they later reappeared as cheerful well-wishers offering congratulations and flowers to the newly married couple. The entire cast embraced the comedy, and laughter rippled through the opera house throughout the evening.
Just when it seemed the evening was over, another surprise awaited. The curtain call transformed into a celebration. Neon-colored fireworks burst across and beyond the stage. Balloons and confetti filled the air. The entire theater became a festival of light and color. The audience responded with cheers and smiles that lingered long after the final note.
In a world that often feels heavy, The Barber of Seville reminds us of the enduring power of wit, love, laughter and shared joy. What began as an evening that tested my stamina ultimately sent me home smiling. That may be Rossini's most timeless gift.