Audience in stitches over BLO's 'Il barbiere di Siviglia'

Last week marked the opening of the Boston Lyric Opera's (BLO) hysterically upbeat production of Rossini's romantic comedy Il barbiere di Siviglia _ more familiarly known in English as The Barber of Seville. And, as explained by one audience member at this past Sunday's matinee performance, the opera "can only be described as silly."

A talented cast of seasoned operatic veterans as well as some new shining stars helped bring such humor to life on the stage of the historic Shubert Theater in downtown Boston. Keith Phares, an outstanding and experienced baritone, delivered a brilliant performance of the classic role of Figaro_ the barber who can give the closest shave by day and helps a pair of star-crossed lovers by night (for a price, of course.)

BLO newcomers Lawrence Brownlee and Margaret Lattimore, the two lovers in question, were delightful in both their singing and their characterization. Brownlee, as Count Almaviva, especially succeeded feigning an array of disguised characters as he and Figaro plotted ways for the Count to win Rosina's heart. Though Lattimore may be a newcomer to the BLO she is certainly not new to her role of Rosina, which she has performed previously with at least four other opera companies. Her central aria, "Una voce poco fa," was nothing but perfection. Lattimore clearly took command of the stage, and seemed incredibly comfortable both with the musical and comedic demands of the role.

Bass-baritone Terry Hodges, another newcomer to the Boston opera scene, nearly stole the show at times as the vain guardian of Rosina, Dr. Bartolo. Through comedy, tyrrany, and confusion, Dr. Bartolo tries to marry his ward before Figaro can pair her off with Count Almivava. Dr. Bartolo's maid, Berta, played by soprano Janna Baty, was the comic relief for many of the scenes, eventually performing her own aria and outwardly flirting with the pianist situated off to stage right.

But if the BLO's fresh and talented cast was not enough to keep the audience in good humor, the massive set consisting of an Italian townhouse seemed to take on a life of its own. Though somewhat lacking in furniture and set pieces, the large background was a sight to behold each time a set change was made and gave the performers ample space to move around during the physical comedy scenes.

The only downside to this afternoon of frolicking romantic humor was the pit orchestra. As an instrumentalist, the first thing I ever notice at a show where the pit is hidden underground or backstage is the balance. Unfortunately for the BLO, when they hired new members for their cast, they did not think to cut back on their pit. Stephen Lord, who has conducted other BLO productions including, Carmen and the upcoming Abduction from the Seraglio, definitely needed to tone down his pit a bit when the finales of each act began. The singers' mouths were clearly moving, but no one in the audience could hear a note being sung aside from a few high mellismas from the sopranos.

When the tempo was upped, the cast proved unable keep pace with their conductor. In what should have been precise togetherness, the cast frequently strayed from one another and caused a domino effect of notes until the whirlwind end of a Rossini accelerando. It was disappointing after so many minutes spent in awe of the production, but looking back, the good moments rise above the rest. Hopefully this was just an acoustic flaw to be fixed before performances for the rest of the run. For those who love opera, this is a classic not to be missed. For those who don't, go anyway. You may be pleasantly surprised.

Boston Lyric Opera's production of Rossini's 'Il barbiere di Siviglia' plays at the Shubert Theater, 256 Tremont Street, Boston, until Oct. 15. Ticket prices start at $32, with half-price student rush tickets available two hours before the show.