Gorgeous production of Rossini’s work is worth the trip up the hill

There are many reasons Gioachino Rossini’s The Barber of Seville is a staple of the opera canon, regularly performed around the world to the delight of audiences everywhere. It’s a hilarious romp with gorgeous, unforgettable music and, in the able hands of Central City Opera’s talented team, a total delight that gives cast and spectators alike a much-needed break from the daily troubles that surround us.

Like that of so many comic operas, Barber’s plot is ludicrously convoluted. Although CCO’s written program contains a detailed synopsis, I found it easy just to sit back and enjoy the production as a nonstop visual and aural feast. From the candy-colored sets and costumes — created by the Opera Theatre of St. Louis — to the onslaught of sight gags and the stellar voices and acting of the entire cast this is a Barber whose appeal never ends.

Director Eric Sean Fogel does a magnificent job of taking the zaniness up to but never over the top of ridiculousness. His directing creates the sense of a cartoon come to life; this is reinforced by the neon colors of the costumes and sets. That the singers are capable of cavorting around the stage at the same time they project some of the most beautiful operatic music ever written is no mean feat.

It is no exaggeration to say that of all the CCO productions I have seen over the years this Barber features the most uniformly outstanding vocal performances, beginning with Luke Sutliff. As Figaro, the barber of the opera’s title, Sutliff’s rich, penetrating baritone voice and compelling stage presence command attention. His Figaro is virile and playful at the same time, directing the action but never overpowering it.

Sutliff, who has sung at major opera houses like Santa Fe Opera, Houston Grand Opera and Seattle Opera, is likely on the verge of hitting the operatic stratosphere and local patrons are lucky to see him in such an intimate setting as the historic Central City Opera House.

‘The Barber of Seville’ at Central City Opera | Photo: Amanda Tipton Photography

First-rate corps of players

Sutliff is supported by a dynamic corps of first-rate singers, all of whom bring comic charm and radiant voices to their respective roles. As the young lovers Rosina and Count Almaviva mezzo soprano Lisa Marie Rogali and tenor Andrew Morstein never let their goofing around overwhelm their intense musicality. Ashraf Sewailam’s booming bass and gift for physical comedy make his scenes as Rosina’s aging guardian some of the most memorable. As Rosina’s maid soprano Laura Corina Sanders nearly brings the down house with her enchanting solo aria.

Under the music direction of conductor Louis Lohras, CCO’s orchestra adds all the energy and finesse that Rossini’s divine score deserves, reminding us of why  Barber is such a treasure, and how much this particular production is one to cherish.

The bottom line: Get to the Central City Opera House this summer for a musical and theatrical performance you will long remember.