Thursday, January 14, 2010

The Bleecker Street Opera Company- Barber of Seville

What a refreshing evening! After thirteen productions so far this season at the Met, I almost forgot the luxury of being able to see performer’s facial expressions. This absolutely genuine cast reminded me that opera, and it’s performers, are not simply fantastical creations that exist beyond the daunting orchestra pit. Just like their music, they are emotional and relatable.

Though many of our beloved operas were written for smaller audiences like this one, a modern norm has developed for huge ritzy houses like the Met, which combined with standing room holds 4,019 people. 19th century Paris, where what we term ‘classical music’ was a much more integral part of culture (Barber and countless other operas grew to fame there), had many more theatres, each with separate purposes and aspirations. The Opéra was dedicated to the advancement of French lyric art, the Opéra-Comique integrated sung and spoken dialog, and the Théatre des Italiens performed only Italian opera, not to mention many lesser-known theatres that came and went throughout the century. Today, seen amidst a much larger spectrum of entertainment and high art, opera is often perceived as an arcane and dying art form. It is forced to rely on wealthy patrons, and therefore pomp and glory just in order to survive. Furthermore, to the degradation of audience members, squinting, opera glasses, and claustrophobia have become norm. The majority of people have been reared to accept that this is how opera is supposed to be seen.

The Bleecker Street Opera Company invites people to experience the vitality, breath, and intimacy that the Met lacks. Located in a basement that looks like a jazz club, the black-box theatre does not seat many more than a hundred. As director of this playful Barber, Teresa K. Pond took advantage of this wonderful atmosphere quite effectively, (with what looked like a minute fraction of money compared to the current Met production of Barber). Bleecker Street has a down-to-earth quality to it that makes one feel right at home. Both Figaro and Count Almaviva (played by Garth Taylor and Anthony Daino, respectively) were probably past their vocal prime, but gave magnificent performances and were in sync with the audience throughout. They made eye contact with us, physically interacted with us, even walked around us. During Figaro’s first entrance, he rubbed an audience member’s bald head and even picked up an elderly couple from their seats while singing about love’s energy. Even if they cracked a note or missed a line, nobody cared. That wasn’t the point. The incredible Jordan Wentworth, who sounded better than singers I’ve heard at the Met, sang Rosina with fierce energy and tremendous power, reminding me of Cecilia Bartoli. Her 'Una voce poco fa' was ravishing, and prompted the first applause of the evening.

The chamber ensemble orchestra of 12 players was noticeably full of talent and was thoroughly led by my friend, Daniel Curtis. He showed high intensity throughout, and let the ‘Rossini crescendos’ shine without breaking the tempo speedometer. Improvising during the basso continuo that accompanies the recitative was much more popular in the 19th century than it is today. Breathing life into this performance, David Rosenmeyer on the piano was playful and full of modern character with his improvisations, even throwing in some jazz riffs. Nothin’ better than keepin’ it fresh!

Before the opera began, David Rosenmeyer (who is also the company’s music director), told the audience that The Barber of Seville is about people finding creative ways other than monetary ones to pursue their love and ambitions. He went on to add that the same could be said about The Bleecker Street Opera Company. In the capitalistic society we live in, the Met will always take center stage. However, The Bleecker Street Opera Compay showed tonight that it is just as fabulous.

1 comment:

  1. Diego, what an exciting thing to see opera in an intimate setting! I love this post, both for its historical information and its beautiful review of the opera you saw. Please keep writing!

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