The Barber of Seville at LA Opera

* Notes * 
Last Sunday Il Barbiere di Siviglia opened in a matinée performance at Los Angeles Opera. The orchestra sounded unfocused under Michele Mariotti, often not with the singers. As Fiorello, José Adán Pérez sounded fine, as did Kerri Marcinko (Berta). Andrea Silvestrelli was an amusing Don Basilio, his throaty, resonant tones were spot on. Bruno Praticò looked and acted convincingly as Doctor Bartolo, but could not always be heard over the orchestra. both lacking heft and fullness.

Nathan Gunn (Figaro) moved so well, and he really has the physicality to pull off the humorous choreography in this production. His voice seemed just a little thin, especially for a baritone. Juan Diego Flórez was perfectly sweet as the Count, never straining. He started off slightly quiet, but seemed to warm up as the afternoon progressed. On the contrary, Joyce DiDonato (Rosina) was wonderful from the beginning. Full of sass, she sang with a gorgeous ease and good volume, but not overwhelming anyone else.

Emilio Sagi's production, directed by Javier Ulacia, was certainly informed by The Wizard of Oz, starting off monochrome and ending in lurid colors. The scenic design, from Llorenç Corbella, was perhaps overly precious. It was all terribly cute, especially Doctor Bartolo's tiny dog.

* Tattling * 
Everyone on the left side of Handrail Obstructed Balcony B was quiet, no talking, hardly any whispering. Unfortunately there was talking from the center, and of course, cellular phones rang during Act II, some more than once, even though we had all been reminded to turn off our electronic devices.