Three decades on since the premiere of late director Elijah Moshinsky’s twist on Rossini’s sparkling and enduring opera buffa, The Barber of Seville, the production is back again with its trademark wit, chaos, and theatrical flair.
Friday evening’s opening night at Melbourne’s Regent Theatre demonstrated how it remains visually distinctive and theatrically engaging. Nevertheless, in this latest revival under director Heather Fairbairn, several musical and ensemble challenges disappointingly dragged down its anticipated effervescence.
Rossini, of course, offers much with his signatory melodies, revving momentum and coloratura gems. It’s an exhilarating soundscape, structured around the story of a young woman kept under strict watch by her old guardian and her eventual marriage to an aristocrat she has really only ever encountered in a series of disguises. Fanciful, yes!
Visually, the production remains striking. Michael Yeargan’s set is richly detailed and atmospheric, while Howard Harrison’s lighting and Dona Granata’s costumes enhance the ambience with warmth and vibrancy.
The opening sequence, set along a miniaturised 19th century terraced and palm-lined boulevard, evokes a sun-drenched Mediterranean atmosphere that could readily be imagined as Melbourne’s own Beach Road. The nod to a local Aussie setting is also indicated by Count Almaviva’s first disguise as a World War I digger.
The familiar two-storey cross-sectioned house – part surgery, part living quarters – retains its charm with its blend of hyped-up Edwardian vernacular. A resulting small downside, however, is that principal actions are restricted by tightly compartmented spaces as other shenanigans steal the eye.
Under Fairbairn’s direction, Moshinsky’s concept – drawing inspiration from the silent film era and early “talkies,” – continued the simple joys of slapstick humour. More than subtle homages to the likes of American Buster Keaton and the inimitable Marx Brothers abound, whose film A Night at the Opera is referenced by a squad of policemen piling into Dr Bartolo’s tiny surgery before tumbling out again in a heap to close the first act mayhem.
Musically and vocally, however, the performance suffered. Under the baton of Tahu Matheson, Orchestra Victoria delivered a polished and often vibrant sound, yet – presumably a deliberate choice in order to prolong the comic action – the slower pacing of many of the adagio passages tended to dissipate dramatic energy rather than enhance it.
Ensemble coordination also presented numerous difficulties and lacked clarity at times, with balance issues resulting in moments where the singers were overshadowed by the orchestra. Phrasing, too, occasionally appeared unsettled and the frequent movement up and down the staircase, while visually effective, seemed to complicate cohesion and projection.
In what unfolded as a showcase of the comical aspect over musical sophistication, the Friday’s cast (principal roles are double cast), nevertheless, demonstrated deftness and commitment in their performances.
Samuel Dundas’s Figaro (alternate cast Simon Meadows) remained the dynamic centre of the production. Rich and resonant, with clear articulation and confidence in the demanding patter passages, Dundas sustained energy and comic vitality throughout.
As a sprite, shrewdly portrayed Rosina, soprano Helen Sherman (alternate cast Emily Edmonds) showed delightful expressive nuance. While Sherman’s upper-register notes remained bright and penetrating, the soaring and tricky coloratura highlights, however, came and went without the impact they needed.
Despite moments of being overpowered, Shanul Sharma’s Count Almaviva (alternate cast John Longmuir) offered a lyrical and flexible tenor, his voice warm and emotive, particularly in the more romantic passages. Sporting theatrical charm and proving an easy fit into comic roles, Sharma also stamped his own vocal style on the role by incorporating some exciting embellishments that brought freshness to the score.
Andrew Moran (alternate cast Shane Lowrencev) delivered a hefty, commanding performance as Dr Bartolo, his resonant baritone and commanding stage presence providing much comic energy. Fully capturing the pompous nature of the role, Moran matched it with some dashing patter sequences executed with aplomb.
David Parkin’s dark, flexible bass well-suited the cunning Don Basilio, his performance of the swirling La calunnia aria being particularly memorable in conveying both comic menace and vocal agility.
Jane Ede’s Berta, portrayed not as a maidservant but as Bartolo’s long-serving nurse, contributed pockets of vocal refinement and a soprano that soared when called for. And juggling the three smaller roles of Fiorello, Ambrogio and Notary, smooth bass Clifford Plumpton gave convincing characterisation.
While the company’s revival of Moshinsky’s marvellous mayhem in The Barber of Seville continues with its comic entertainment and imaginative design, on this occasion it lacked the rhythmic thrust and ensemble cohesion that have characterised the production at its finest.
The Barber of Seville
Regent Theatre, 191 Collins Street, Melbourne
Performance: Friday 31 October 2025
Season continues to 5 November 2025
Information and Bookings: www.opera.org.au
Images: The cast of Opera Australia’s production of The Barber of Seville – photo by Jeff Busby | Andrew Moran as Dr Bartolo, Shanul Sharma as Count Almaviva and Clifford Plumpton as Notary in Opera Australia’s production of The Barber of Seville – photo by Jeff Busby | Clifford Plumpton as Fiorello and Shanul Sharma as Count Almaviva in Opera Australia’s production of The Barber of Seville – photo by Jeff Busby | Andrew Moran as Dr Bartolo and Helen Sherman as Rosina in Opera Australia’s production of The Barber of Seville – photo by Jeff Busby
Review: Paul Selar