* Notes *
Il Barbiere di Siviglia returned to Seattle Opera this weekend. The set, from the Canadian Opera Company and designed by John Stoddart, is traditional, and turns for the various scenes. Particularly amusing were the projections used for the storm scene, we saw all manner of objects fly by. Peter Kazaras' stage direction was pleasingly campy, involving many dance moves. This all came together for a satisfying show and much laughter was heard.
Maestro Dean Williamson kept the orchestra going at a good clip, the brass had some ragged moments but the playing was lively. The chorus was not exactly together in the first scene, perhaps the choreography threw things off slightly.
Sunday's alternate cast was strong. David Adam Moore was an entertaining and spry Figaro. His voice is pleasant, but there were times when not all the words he sang could be discerned. He was also a bit slow during "Numero quindici a mano manca." Nicholas Phan made a fine Seattle Opera debut as Almaviva. His voice has a lot of volume and sweetness, though there was some strain at times. Kate Lindsey was a slightly tomboyish and very pert Rosina. She sounded rich and hale, yet shimmered when necessary.
As for the smaller roles, Sally Wolf sang Berta's aria convincingly. Burak Bilgili was a hilarious Don Basilio and Patrick Carfizzi likewise was comic. Carfizzi had wonderfully clear enunciation for "A un dottor della mia sorte."
* Tattling *
The audience clapped for the set twice, once for when they turned it about in Act I, and once for the interior at the beginning of Act II. The person in front of me in U 1 of Section 1 of the Orchestra Level twitched her head to pretty much every note of the music. Had I not been so engaged with this performance, I might have been more bothered by this. The woman in either V or W Seat 2 Section 2 sang along to the first notes of "Buona Sera, Mio Signore."