A cut above A cut above (February 20, 2004)

West Bay stages a lively version of Rossini's classic opera

by Jeanie Forte

I f you're an aficionado, you've probably seen "The Barber of Seville" at least once before, maybe twice -- but that's actually all the more reason to see the current version being staged by West Bay Opera at the Lucie Stern Theatre.

I've seen "Barber" twice before, but never livelier or more engaging than this production. We're so fortunate to have an opera company of this caliber in our own backyard; this show is an excellent example of the consistently superb quality of West Bay Opera productions.

The voices in this show are uniformly first-rate, down to the smallest featured role. Jordan Shanahan, as the wily, beloved Figaro, wows the audience with his bold, magnificent baritone sound. This is his first appearance with West Bay; I'm sure others will agree that we'd love to see him become a regular.

John Zuckerman, also new to the company, plays Count Almaviva, the lovelorn nobleman who woos Rosina in several disguises to make sure she loves him, not his wealth or position. The night I saw the performance, Zuckerman got off to a rocky start in the opening ensemble piece, but by the time he sang -- and actually played the guitar for -- the ballad under Rosina's window, he revealed his strength as a true lyric tenor. He won me over with that aria. And he got stronger and stronger the rest of the performance, with a voice like silk and an easy manner. He was quite up to the task of the various roles Almaviva takes on, and especially funny as the faux music teacher.

Then there's Sonia Gariaeff - West Bay audiences already know she is a local treasure, but as Rosina she's terrific. Her character is tough, cunning, smart, sneaky, fierce, feminine, tender, loving, wise and fun. Gariaeff shows all those different sides while singing beautifully and almost effortlessly. Gariaeff's rich mezzo sound gives us Rosina as she was originally written, which enhanced the characterization of Rosina's earthy edges. Having only heard Rosina played by sopranos before, I was intrigued by the pleasant difference a mezzo made in the role.

Interestingly, Gariaeff shares the role in this production with Robin De Leon, a soprano; you could see both women on different nights and make your own comparison of how the voice affects characterization. I can't imagine De Leon is any less effective, considering the quality of this production (Gariaeff will perform tonight and Sunday; De Leon will assume the role of Rosina on Saturday).

Other standouts include Michael Morris as the grasping Dr. Bartolo, Rosina's guardian and would-be husband, whose expressive demeanor is matched by a thorough vocal competence; the solid John Minagro playing the fickle, money-minded Basilio, Rosina's music teacher and Bartolo's aide; and Constance Howard as Berta, Bartolo's housemaid, who has a surprisingly good aria of her own.

Indeed, all the voices are good, the staging is lively and full of fun surprises, and the whole production comes together quite nicely. The young Zanni (Elaine Beckett, Emma Davis and Maggie McKenna) adds a fresh commedia-like spice to the action. The sets are marvelous, atmospheric and efficient; costumes are effective and attractive additions to character. The fun depiction of the rainstorm is just one example of a standout moment in a production replete with lovely moments.

But keep in mind that "Barber of Seville" has three long acts and lots of recitative, a kind of sung-speech that to untrained ears may sound like just a lot of musical noodling. 0ne needs patience and perseverance and an appreciation of the historical context of the art form to hang in there between arias.

Pay attention to details, and watch the supertitles for the jokes. Nevertheless, the commedia influence in the staging and the delightful humor of the piece will surely draw you in to this most enjoyable and thoroughly professional production.

What: Gioachino Rossini's "The Barber of Seville," presented by West Bay Opera. In Italian with supertitles.

Where: Lucie Stern Theatre, 1305 Middlefield Road in Palo Alto

When: Show times are tonight at 8 p.m.; Saturday at 8 p.m. and Sunday at 2 p.m.

Cost: Tickets are $43, with a special $21.50 youth ticket (for those under 18) for Sunday matinees only. For tickets or more information, please call the West Bay Opera box office at (650) 424-9999, Monday - Friday, 1 to 6 p.m., or visit www.wbopera.org. Tickets may also be purchased at the Holt Building, 221 Lambert Ave. in Palo Alto.

Info: Call (650) 424-9999 or visit www.wbopera.org

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