31 Days of Halloween: Day 8

So, it's not very Halloween, but on Sunday I got to see The Barber of Seville at the Staatsoper im Schiller Theater.

Guilty admission: I had never before seen The Barber of Seville. I know the story and the music-largely due to the awesome CD of duets put out by Bryn Terfel and Cecelia Bartoli-and so I felt prepared. I was really excited: the Staatsoper had arranged the evening to benefit those under 35, and so the tickets were seven euros each. My friend and I were sitting in the sixth row, center. No need for opera glasses.

The Schiller Theater is actually kind of small for an opera house. I think that even sitting in the balcony there wouldn't have been any need for opera glasses. It's very modernist on the outside (with a big red neon sign blinking "HIER" over it, no less), but the inside is very properly decked out in red velvet. The pit is tiny (my dad: "Wait, they put a pit in the Schiller Theater?") and the stage decently sized. A very nice, comfortable place all around.

I was a little skeptical about the sets at first: they were white sheets painted with very minimalist designs of first a street, then the inside of a house. Not very inspired or inspiring. It reminded me, in fact, of a cartoon. But luckily, the entire production was cute, silly, and all around adorable.

Daniel Barenboim conducted his first Rossini opera that night. The orchestra was the Staatskappelle Orchester, and they were spot on fabulous: lush and energetic in tone, but never once overwhelming the singers. The singers themselves were excellent. The singer who played Rosina was Rachel Frenkel, a very expressive and lovely woman, perfect for the role. Her Rosina was smart and cheeky, and her voice was light and mischievous.

Figaro was played by Christopher Maltman, an English baritone with a full-throated roar. He was fabulous. His Figaro was loud, smart, brash, and absolutely uncaring for social boundaries. He delivered his Largo al factotume with unabashed glee, and it was incredible. He stole the show, as a good Figaro should. Much love.

Two really great Russian singers played the Count (Dmitri Korchak) and Basilio (Alexander Vinogradov). Korchak's Count was snobbish and arrogant, and only reluctantly admitted that he needed Figaro's help. Basilio was freaking hilarious. He was dressed as a sort of zombie-priest, and could've gotten a grant from the Ministry of Silly Walks. He was absolutely, unutterably hilarious. Big eyes, big features, tall and skinny with sharp cheekbones, and a hilarious fright wig. He rivaled Figaro for comedic effect. Vinogradov's bass-baritone was silky and warm, and I want to hear more from him.

Barenboim seemed to have a ball conducting this production. He got a roar from the audience when he came out for his bow, and in a cool gesture, made the orchestra come up onstage with him. I liked that. I feel that sometimes the orchestra gets overlooked, so it was nice to see this one recognized so well. It was definitely a great night at the opera.