A bland ‘Barber’ revival

Los Angeles Opera opened a low-voltage revival of Rossini’s “The Barber of Seville” on Friday at Dorothy Chandler Pavilion. One reason for its lack of impact might be that Mauro Pagano’s symmetrical set for the Cologne Opera, carried over from 1997, creates an inordinate number of acoustical dead spots on stage. Then again, perhaps the singers had small voices or didn’t project well.

But with only a few exceptions, from a seat about six rows back from the front of the stage, they sounded weak and easily overpowered by the orchestra, which wasn’t playing all that loud.

The leaden pace of the comic dialogue, however, couldn’t be attributed either to acoustics or to size of voice. Director Michael Hampe has to take responsibility for that.

One of the vocal exceptions was Russian baritone Vladimir Chernov in the role of Figaro. Chernov was heard as a nasty Albert in Massenet’s “Werther” and a darkly villainous Iago in Verdi’s “Otello” in the company’s “Concert of Passion and Poetry” last month. His Figaro had a steely edge, both in sound and in its opportunistic portrayal. And, in “Barber,” every time Chernov was on the boards, the vocal and energy level went way up.

So, too, whenever company stalwart Suzanna Guzman appeared as Berta. Guzman has perfected her portrayal of the hangdog, stooped-shouldered old maid and her every appearance was a scene stealer. Still, Berta is not supposed to be a major part of Rossini’s sparkling comedy, although her contributions were especially welcome.

Bruno Pola as Dr. Bartolo doubled in voice every time he went up on the stairs at either side of the set. But stage center he seemed a mumbler. Neither he nor any of the others sounded anywhere near ideally agile in handling Rossini’s embellished lines.

John Osborn was a straightforward but not exciting Count Almaviva. The voice was warm but monochromatic and it didn’t blossom at the top. His put-on comic bleating as the disguised, goofy music teacher, Don Alonso, unfortunately carried over into his straight asides as Almaviva to the audience as well.

Carmen Oprisanu, a tall, svelte Romanian prize-winning mezzo in the Placido Domingo World Opera Contest, sang Rosina with a creamy voice that was homogenous from top to bottom. Like Osborn, however, she didn’t do much in terms of coloring the text or making phrase grow and go some place.

In minor roles, Simone Alberghini was a lackluster Don Basilio. Dietmar Konig made a favorable impression with his limited options -- grunts rather than sung lines -- as the servant, Ambrogio.

Things were much better in the pit, where Gabriele Ferro presided with stylish wit and lyric expansiveness. Ferro was often signaling phrasing to the singers, who largely ignored him. Maybe things will jell as the run continues with this cast through Feb. 23. A different set of principals sings Thursday.

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‘The Barber of Seville’

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A.

When: Wednesday, Thursday, Friday, Sunday, Feb. 20 and 23 at 7:30 p.m.; Feb. 22, 1 p.m.

Price: $30 to $170

Contact: (213) 365-3500