In his Opera San José debut Stephen Lawless directed this new production, which might not have had the best sense of space but was a lot of fun.
It was unclear if we were on the ground floor (pictured, photograph by David Allen) or if we were a level up, as there was a door downstage that was supposedly to the outside but there was also a balcony on that same level upstage. But I did like the liveliness of the production, the walls that didn't behave and stay put, the four flamenco dancers that would dramatically appear for really no reason except that the action takes place in Seville. The storm scene had a dream sequence in it, which was novel and effective.
Rossini's music is always enjoyable and the singers did a fine job. Mezzo-soprano Courtney Miller was a long-suffering and oddly endearing Berta and bass-baritone Vartan Gabrielian was an especially creepy and greedy Basilio. Bass-baritone Joshua Hughes (Fiorello) sounded bright and robust, as did baritone Michael Kuo (Officer). Everyone was clearly characterized and acted very well,
Likewise the leads were all strong. Bass-baritone Dale Travis is always reliable, his Bartolo is very funny. Nikola Adele Printz is charming as Rosina, their clean, brilliant sound is not that of a coloratura mezzo-soprano, but they were able to work with their voice to give a splendidly resonant performance. Tenor Joshua Sanders is also very solid as Count Almaviva, his plaintive voice sounds strong from top to bottom. Baritone Ricardo José Rivera is a very loud and lovable Figaro, but his voice is pretty and he seemed all smiles.
In the middle of Act I there were a lot of barking coming from backstage but we never saw dogs in the production. I was very impressed by how the service dog that seems to always be at afternoon performances at this opera house maintained their cool and did not make a single sound at all.
There was some light talking, I did hear a cellular phone ring once, and lots of cellophane noise at certain points.