Rosina’s room was up a flight of stairs, fashioned as a big bird cage – a perfect metaphor for her situation. Bartolo’s home, the eyes as windows, and the whole thing rotated to reveal the interior. Edwards’ set, the head (based on Rossini’s) served as Dr. As the overture galloped to its finish, a giant head rose up behind the mustache and rolled into place, flanked by Spanish archways with columns painted like barber poles. Setting the tone, an orange tree trimmed as a giant mustache stood out against Santa Fe’s signature curtain-time sunset (visible through the stage). The performance heard Monday evening has to be the funniest I have ever experienced in opera.īarlow engineered a nonstop mix of physical hijinks and on-point confrontations that almost always fit snugly with Rossini’s bubbly music. If The Barber of Seville cast lacked that level of star power, it delivered big-time on both musical values and – especially – humor.
Mariame Clément’s idea for staging Carmen dulled the passions and often clashed with Bizet’s score.Įven with a starrier cast (Isabel Leonard and Michael Fabiano in the lead roles) and a brand-name conductor (the company music director Harry Bicket), Carmen paled in comparison.
London-based Australian Stephen Barlow pumped energy and life into Barber by taking his cues from Rossini’s music. The directors of both The Barber of Seville and Carmen injected twenty-first-century tropes into their new productions at Santa Fe Opera. Scenic and Costume designer – Julia Hansen : Bizet, Carmen: Soloists, Chorus and Orchestra of Santa Fe Opera / Harry Bicket (conductor). : Rossini, The Barber of Seville: Soloists, Chorus and Orchestra of Santa Fe Opera / Iván López-Reynoso (conductor), Crosby Theater, Santa Fe, New Mexico.
United States Santa Fe Opera 2022 : (HS) Michael Fabiano (Don José) and Isabel Leonard (Carmen) © Curtis Brown/Santa Fe Opera
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