OPERA REVIEW : Old ‘Barbiere’ Sings in New Surroundings

While L.A. Music Center Opera unveiled its new co-production of Rossini’s “Tancredi,” Opera Pacific in not-far-away Costa Mesa trotted out the well-worn, well-used and, to some, beloved old Alfred Siercke production of the composer’s “Il Barbiere di Siviglia”--mounted first in post-World War II Hamburg and, after its arrival in San Francisco in the early 1960s, familiar all over this continent. Just two Februaries ago, for instance, it returned to San Diego.

Almost surprisingly, with humorous touching-up from stage director Rosalind Elias--the ghost of Gunther Rennert lingers on, affectionately--newly minted lighting from Natasha Katz and well-propelled musical direction by Mark Flint, this old “Barbiere” still works.

At opening night, Friday in Segerstrom Hall at the Orange County Performing Arts Center, a strong cast maneuvered up and down its circular ladders, moved in and out of its three tiers of cramped roomettes and occupied its familiar furniture comfortably.

And sang the Italian text neatly, if sometimes more loudly than is stylish, most of the time. The projection of English supertitles over the proscenium, though carefully timed and not distracting, seemed almost unnecessary in this context.

Refreshingly overachieving, Judith Forst, the Rosina in this cast, excels at both ends of the role’s wide range, copes easily with all manner of vocal filigree, dominates musical ensembles with resonance but without belligerence--and looks fetching, even seductive. No bland or simpering Rosina, Forst may err on the side of hard-boiledness. But that seems charming after some of the wimps we have seen.

Her Count is no light-voiced Rossini specialist but a beefy, vocally labored, all-purpose, American-style tenor. Ten years from now, Carroll Freeman may succeed in other repertories than this; for now, he acts confidently, sings a straightforward Almaviva with occasional niceties and fits tightly into the musical ensemble.

As the hero of the title, the veteran Pablo Elvira also makes a good colleague; his stage manner is deft, and he produces resonant, admirable high notes. William Fleck’s attractive Bartolo is no stereotype, but a character of dimension, and finely sung. Less Italianate and more loud are the Basilio of Stephen West and the Fiorello of Frederick Matthews.

Using the set with the cleverness operative in the Rennert era, director Elias inventively moves her singing actors without gimmickry most of the time, and adds witty details; her thoroughness is remarkable. Flint’s conducting of the pit orchestra--the Pacific Symphony, we are told, but uncredited in the program--on Friday had assurance, brio and imperturbability in its favor.