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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