The Barber of Seville, Wilton's Music Hall review ★★★★★
A highly entertaining small-scale staging of Rossini's comic opera is as theatrical as it is musical
Jonathan Eyers (far left) as Figaro and Meriel Cunningham as Rosina in The Barber of Seville. Photo: Bill Knight
Like a spaghetti western crossed with a Carry On film and your favourite Gilbert and Sullivan satire, John Savournin's production of Rossini's comedy The Barber of Seville bounces Charles Court Opera on to the stage of Wilton's Music Hall for a two-week run.
It's a perfect fit: the scaled-down opera slips nippily into the most atmospheric venue in London, and the quickfire wit of music director David Eaton's brilliant English translation ricochets round the compact house without impediment.
Moving the action from 17th-century Seville to the Wild West, the fortunes of Count Almaviva and his beloved Rosina stem from the Gold Rush, not inherited wealth, and Almaviva's rival is not a lustful old guardian but the owner of a spit-and-sawdust saloon bar. Here Rosina skivvies for this menace, Bartolo, watering down the bourbon and working on her singing.
Figaro, the resourceful barber and fixer, has a sideline intervening in troubled romance. ('These indiscretions became my profession... caught inflagrante, down in the pantry...') New Zealand-born, London-trained baritone Jonathan Eyers is a brisk and elegant Figaro. Both character and singer are bound to succeed.
Savournin, a gifted singer and actor in his own right, has picked artists with a gift for comedy, but none more hilarious than Meriel Cunningham as Rosina. This is one of the great mezzo-soprano roles, and Cunningham takes it to the next level, colouring the voice with self-deprecating humour and communicating with wide eyes and mouthed surprise her complete willingness to fall in with a titled heir. So he is not a penniless cowpoke, as he professed to be. That's clearly fine by her. The Act Two trio is a delight, performed as if trying out for composer Arthur Sullivan, waiting in the wings.
The high-speed antics are, after all, driven by Rossini's driving score, masterfully rendered in piano transcription, and of course there are moments when you miss the composer's sparkling orchestration. But Carry On Singing morphs seamlessly from time to time into showstoppingly lovely solo or ensemble numbers, Cunningham again the standout star.
English National Opera favourite Ellie Laugharne is a lusty Berta, lamenting the passing years, Joseph Doody is a nifty Almaviva, and baritone Arthur Bruce made a big impact in two small roles. You can hear more of him in the title role of Benjamin Britten's Billy Budd with New Palace Opera on 16 June. London must treasure its two (for now) big opera houses, but truly these smaller productions are where great things can also happen.
The Barber of Seville is sung in English. Further performances are on 14, 15, 16, 19, 20, 21, 22 and 23 March. Samantha Price sings Rosina and John Gyeantey sings Almaviva at some performances. Click here to book
It's a perfect fit: the scaled-down opera slips nippily into the most atmospheric venue in London, and the quickfire wit of music director David Eaton's brilliant English translation ricochets round the compact house without impediment.
Moving the action from 17th-century Seville to the Wild West, the fortunes of Count Almaviva and his beloved Rosina stem from the Gold Rush, not inherited wealth, and Almaviva's rival is not a lustful old guardian but the owner of a spit-and-sawdust saloon bar. Here Rosina skivvies for this menace, Bartolo, watering down the bourbon and working on her singing.
Figaro, the resourceful barber and fixer, has a sideline intervening in troubled romance. ('These indiscretions became my profession... caught inflagrante, down in the pantry...') New Zealand-born, London-trained baritone Jonathan Eyers is a brisk and elegant Figaro. Both character and singer are bound to succeed.
Savournin, a gifted singer and actor in his own right, has picked artists with a gift for comedy, but none more hilarious than Meriel Cunningham as Rosina. This is one of the great mezzo-soprano roles, and Cunningham takes it to the next level, colouring the voice with self-deprecating humour and communicating with wide eyes and mouthed surprise her complete willingness to fall in with a titled heir. So he is not a penniless cowpoke, as he professed to be. That's clearly fine by her. The Act Two trio is a delight, performed as if trying out for composer Arthur Sullivan, waiting in the wings.
The high-speed antics are, after all, driven by Rossini's driving score, masterfully rendered in piano transcription, and of course there are moments when you miss the composer's sparkling orchestration. But Carry On Singing morphs seamlessly from time to time into showstoppingly lovely solo or ensemble numbers, Cunningham again the standout star.
English National Opera favourite Ellie Laugharne is a lusty Berta, lamenting the passing years, Joseph Doody is a nifty Almaviva, and baritone Arthur Bruce made a big impact in two small roles. You can hear more of him in the title role of Benjamin Britten's Billy Budd with New Palace Opera on 16 June. London must treasure its two (for now) big opera houses, but truly these smaller productions are where great things can also happen.
The Barber of Seville is sung in English. Further performances are on 14, 15, 16, 19, 20, 21, 22 and 23 March. Samantha Price sings Rosina and John Gyeantey sings Almaviva at some performances. Click here to book
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| What | The Barber of Seville, Wilton's Music Hall review |
| Where | Wilton's Music Hall, 1 Graces Alley, London, E1 8JB | MAP |
| Nearest tube | Tower Hill (underground) |
| When |
12 Mar 24 – 23 Mar 24, 14 performances, at 7:30PM and 2:30PM. Running time 2hr 20min, including one interval |
| Price | £10-£30 |
| Website | Click here for details and booking |