Mark Freiman -- There are many reasons that The Barber of Seville has been an audience favorite for generations: a dashing young count using outlandish disguises to outsmart a blustery old doctor and win the love of a beautiful girl; a wily and clever barber, to help him; outrageously funny twists and turns; and best of all, unforgettable music! People who have never been to an opera will recognize much of Rossini’s music because it has become so ingrained in our culture.
I first sang chorus in Barber as a boy in New York City at the very tiny Amato Opera, playing my violin onstage to help accompany the Count’s opening serenade. As an adult, I went on to sing the roles of Dr. Bartolo and Don Basilio around the country, including two national tours with N.Y. City Opera. I am thrilled to have this opportunity to direct a piece that I have loved for so long.
Some directors call attention to their new “concept” rather than to what made the original work so successful. And many times, an updated, conceptual production makes the story confusing. The key for me with this traditional production is to tell the story clearly, to allow the audience to be swept away by the music, the characters, and the individual singers — and to laugh a lot! Every time I encounter this work, I find new details, insights, and comedy to bring out.
This is the perfect first opera to see for anyone who has never been to one — including kids! It’s sung in the original Italian, but it’s easy to follow the story and get all the jokes, with plenty of visual comedy and English titles projected above the stage.