(l-r) Clarence Frazer as Figaro, Andrew Haji as Count Almaviva,
Charlotte Burrage as Rosina, Gordon Bintner as Don Basilio, Karine Boucher as
Berta and Iain MacNeil as Doctor Bartolo. Photo: Michael Cooper
Reviewed by James
Karas
The Canadian Opera Company does much more than produce operas. Through
its Ensemble Studio, it also trains opera professionals. What is more the COC
gives some of the students the opportunity to perform in a major production at
the Four Seasons Centre before a live audience.
One of the twelve performances of The Barber of Seville (May 15, 2015)
this year was given to the Ensemble with creditable results before an
enthusiastic audience.
Ensemble Studio member Clarence Frazer replaced Joshua Hopkins as Figaro
in the regular performance on May 13 and sang the role in the Ensemble Studio
production. Like most starters, he needs some polishing in his performance but
there is no reason not to expect to see him again.
The role of Count Almaviva was shared by tenors Andrew Haji in Act I and
Jean-Philippe Fortier-Lazure in Act II. Haji has a fine mid-range but his high
notes still need some development. Set Designer Joan Guillén has created an
oversized guitar on which the tenor perches when serenading Rosina in the
opening scene. It is not a comfortable place to be on and loss of footing could
result in a tumble on the stage. Not a good place to deliver an aria from.
Fortier-Lazure has a fine, light voice and some nice comic touches in
his performance in Act II. Mezzo-soprano Charlotte Burrage sang a fine and
lively Rosina but she needed to be a bit more assertive in “Una voce poco fa.”
Rosina is playful and self-assured but she almost needs to show some teeth to
convince us that she will be victorious no matter what the obstacles. Still a
very good performance.
Charlotte Burrage as Rosina and Andrew Haji as Count Almaviva. Photo: Michael Cooper
Bass-baritone Iain MacNeil is only a first-year member of the Ensemble
Studio and was given the role of the comical and foolish Dr. Bartolo. It takes
some good singing and clowning to succeed in the part and MacNeil did just
fine.
Rosina’a governess Berta gets to hang around for most of the evening but
Rossini did write a very pleasant aria for her, “Il vecchiotto cerca moglie
(“The old man seeks a wife”). Soprano Karine Boucher, a first year Ensemble
Studio member, has a very attractive voice with a lilt and she gave a splendid
rendition of the aria.
Unfortunately, Director Joan Font and Costume and Set Designer Joan
Guillén seem to work against her. As she was singing a couple was making a bed
on top of the over-sized grand piano. They laid sheets, a blanket, a pillow and
got under the blanket. This type of side-show is the hallmark of this
production and it was annoying throughout the performance.
The performance is judged through the prism of seeing young singers
honing their skills based on their innate talents. Unlike the regular cast, the
Ensemble Studio members get only a single performance unless they replace a
singer whom they are understudying.
What they do is good for everyone especially for the enthusiastic
audience that gave them a standing ovation.
_________
The Barber of Seville by Giacomo Rossini with libretto by Cesare
Sterbini was performed once on May 15, 2015 by mostly members of the COC
Ensemble Studio at the Four Seasons Centre for the Performing Arts, 145 Queen Street West, Toronto, Ontario. Tel: 416-363-6671. www.coc.ca
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