A Cut Above

wig out: Ross Benoliel as Figaro.

Steve Cohen

The barber of sevilleMay 2, Academy of Vocal Arts, 1920 Spruce St.; May 7-8, Centennial Hall, Haverford School; May 11, Central Bucks East High School Auditorium, Doylestown, 215-735-1685

The advent of Verdi and Wagner made Rossini’s orchestrations seem antiquated, but in his time Rossini brought the musicians in the pit to a new level of virtuosity. He increased the use of brass and tympani, and some critics called him radical and “too noisy.” Many viewers now overlook the orchestra at Rossini productions, focusing on the singers and their delicate handling of ornamentation. Thankfully, it’s hard to do that at the Academy of Vocal Arts’ new production of Il barbiere di Siviglia (The Barber of Seville).

Christofer Macatsoris leads the Chamber Orchestra of Philadelphia and the cast in an extroverted, full-blooded performance of this exciting opera. Yes, Barber is more than an academic exercise in bel canto singing technique. There's a storm scene, a plot to slander the reputation of Seville's most prominent citizen, and the rescue of an imprisoned maiden. The music bubbles and sparkles, and it also thunders in many places. The orchestra delivers a colorful and carefully shaded tapestry while never covering the voices of the excellent singers.

Jesús Garcia displays a gleaming tenor and florid technique as Count Almaviva, the rescuer. Cristina Nassif is a strong Rosina -- rebellious and a risk-taker, determined to run off and marry this mysterious suitor. Normally categorized as a soprano, Nassif sings the role in the original mezzo key. Last year she was an excellent Musetta; here she shows the same assertiveness and seductiveness, which we don't always see in this part. Ross Benoliel is a charming and attractive Figaro, tossing off his famous aria with panache.

Rosina's older guardian and would-be husband, Dr. Bartolo, is often played as a ridiculous buffoon. But Jason Switzer's portrayal fleshes him out as a character, and his sturdy baritone fills an important part in the ensemble. Bass Ö. Burak Bilgili is powerful as Bartolo's henchman Basilio. His and the orchestra's rendition of the slander aria, "La calunnia," is a highlight.

Stage director Joel Silberman gives us an opera that is constantly funny but never farcical. He and his cast remind us that The Barber of Seville contains a serious story about a possessive man and a rebellious teenage girl. Silberman provides many humorous touches, like the vain Almaviva adjusting the lantern light to show his face properly for his romantic serenade, and he also gives us stunning ensembles like the whirlwind "hammer-blow" sextet that ends Act 1.

The opera has three alternate casts. It would be hard, however, for any cast, including most famous professional names, to be any better than what we saw opening night.

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