Wagner, too, responded positively to the Italian composer, 21 years his senior, and who stopped composing when the German was just eight years old. He wrote that "Rossini turned his back on the pedantic lumber of heavy scores and listened where the people sang without a written note. What he heard there was what, out of all the operatic box-of-tricks, had stayed the most unbidden in the ear: the naked, ear-delighting, absolutely-melodic melody, that is, melody that was just melody and nothing else."

With such praise in mind it is a delight to be able to write that Opera Ontario's current production of the Barber of Seville captures the true high-spirited qualities of the opera. At the same time, it also has been infused with fresh ideas that ensure the audience will find nothing stale about this frequently performed work. While it was not the perfect production on opening night — conductor Lior Shambadal and the orchestra did not quite seem at home with each other — it certainly can be described as having been superb entertainment, and a musical joy.

Credit goes in part to British-born and Vancouver-based, director Alison Green. She manages to raise giggles from the audience even before the curtain rises, and introduces some clever, boisterous interaction between Fiorello (Nelson Sierra) and the conductor. These may not particularly clarify the opera, but they certainly add a new perspective, and a few additional laughs.

What makes the opera special, however, is the fine performance of Aaron St. Clair Nicholson, the young Abbotsford, BC, native. Not only is he an ace baritone, and one of Canada's new generation of rising opera stars, but he is a versatile performer and able actor. His Figaro not only amuses the townsfolk of Seville by ably juggling three oranges, but also plays some excellent flamenco licks on his guitar during Count Almaviva's serenade to Rosina. By doing so, an air of authenticity to the location of the opera has been introduced to an otherwise very Italian opera.

Nicholson is well balanced by soprano Shannon Mercer in the role of the young Rosina. Although Rossini intended the part to be sung by a mezzo-soprano, Mercer is ideal for the role. The Ottawa native=s bright, clear voice embodies Rosina, who is at once innocent, flirtatious, and full of guile. The only other female part in the opera is that of Berta, the housemaid of Dr. Bartolo, the guardian of Rosina. Melissa Schiel, from Waterloo, manages to sing and act the role very convincingly, with a fine sense of humor that shows she is yet another Canadian singer of great promise.

Benjamin Butterfield, by now a veteran among native tenors, creates a fine Count Almaviva, who disguises himself as the poor student Lindoro so he can woo Rosina. His is a beautifully lyrical voice well suited to the role. Sean Watson, a baritone who can easily pass as a bass, is excellent as the aging, conniving Dr. Bartolo, intend on marrying Rosina. His conspirator in this scheme is the seedy musicmaster Basilio, sung with great verve by veteran bass Joseph Rouleau, and outstandingly acted to produce the required laughs without ever resorting to extremes.

The set and props, designed by Allen Moyer, came to Opera Ontario from the USA, where it is jointly owned by the Minnesota Opera, Washington Opera and Opera Omaha. The well-coordinated costumes are from costume house Malabar. While the set=s colors are a bit garish, they are at the same time adding to the fun of the production. Rosina takes her lessons on a pink piano, for instance, which at first hits the eye off key, but then falls right in with the hijinks taking place around it.

All in all, this is a satisfying production. It can be seen at Hamilton Place again on Thursday and Saturday (Oct. 9 & 11) and at the Centre in The Square, Kitchener on Oct. 17.

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