Opera can be fun!

Manila, Philippines -  I enjoy opera but I’m not an opera aficionado. In fact, I sometimes doze off in some opera productions that are made of heavy stuff. But I also get enraptured by some productions that feature outstanding lead singers, fantastic sets and costumes, engaging plots and beautiful orchestral accompaniment. It also helps tremendously if there are subtitles.

That is why I’m eagerly looking forward to July 13 and 14 when Gioachino Rossini’s two-act opera “The Barber of Seville” takes centerstage at the CCP Tanghalang Nicanor Abelardo for the first time.

Presented by Rustan’s Department Store, Metrobank Card, The Peninsula Manila and the Cultural Center of the Philippines in cooperation with the Embassy of Italy, The Barber of Seville should undoubtedly be a must-see for all opera lovers and aficionados.

First and foremost, the storyline is sure to engage even the most blasé among opera buffs. Considered as the funniest of all comic operas, The Barber of Seville is laden with subplots that twist and turn into a convoluted love story, hidden identities and concealed motives brought to life by odd and hilarious characters – a shy starlet, a scheming guardian, a love-struck nobleman, a barber with a flair for intrigue and a conniving music teacher. And, like most musical comedy productions, the tortuous plot suddenly unknots in the end and everyone is happy.

The history of The Barber of Seville is equally fraught with intrigues and laden with interesting trivia. The opera is based on the first play of the Figaro trilogy written in the 18th century by French playwright Pierre Beaumarchais. The second play of the trilogy was used by Mozart for “The Marriage of Figaro” opera libretto. The Barber of Seville was composed as an opera in four different versions at different times by Giovanni Paisiello, Francesco Morlacchi, Nicolas Isouard and Gioachino Rossini.

Taking centerstage in the Manila production of “The Barber of Seville” are Arthur Espiritu (inset) and Rachelle Gerodias.

The 25-year-old Rossini composed his version of the opera in only three weeks and the production premiered at the Teatro Argentina in Rome on Feb. 20, 1816. It was a disaster. The Italian audience hissed and jeered during the show reminiscent of the world premiere of Stravinsky’s “The Rite of Spring” at the Paris Opera almost 100 years later.

In the audience was his rival composer Giovanni Paisiello, who some believe provoked the crowd to boo the opera. On top of that, several on-stage accidents happened during the performance – guitar strings snapped, the lead character tripped and bloodied his nose, and a playful cat suddenly appeared on stage.

The subsequent performances of The Barber of Seville received more enthusiastic response from the audience and the opera gradually grew in popularity. In fact, it is now ranked as one of the top 10 most performed operas all over the world.

I believe that it has withstood the test of time compared to the other three versions because its music exhibits Rossini’s genius at its gayest and most exhilarating mood. Many of the opera’s arias – like the Count’s serenade, Rosina’s chamber aria and Figaro’s celebrated song describing his duties – have become immortalized in opera music history.

The Philippine cast of The Barber of Seville is one that I anticipate with great expectation. Rachelle Gerodias whom I consider the country’s top soprano now will essay the role of the shy and innocent Rosina. We’ve seen and heard her perform in the past and it is without any doubt that she’ll be splendid in the role.

Antonio Petris directs the production. Italian scenographer Greta Podesta provides the set design.

Arthur Espiritu, considered by many as the Philippines’ leading tenor and only the second Filipino to be featured at La Scala in Milan, will play the role of Count Almaviva/Lindoro, Rosina’s suitor. Blessed with good looks and a magnetic stage personality, he is certain to wow the audience with his vocal artistry and power.

We also look forward to the performance of two of Italy’s top baritones – Marco Filippo Romano and Mario Cassi who will portray the roles of Dr. Bartolo and Figaro, respectively. They have both won prizes in top international vocal competitions and are sought after in many opera productions in Italy and Europe.

Completing the stellar line-up is Andrew Fernando, the country’s leading baritone, who will play the role of Don Basilio, the music teacher.

The Manila production of The Barber of Seville is the brainchild of Rustan’s president and CCP trustee Nedy Tantoco. A lover of classical music and opera, Tantoco has produced many concerts and shows as fundraising events for the CCP and other charities, but this will be her first venture in opera production.

“It has always been my desire to produce an opera ever since I started getting involved in cultural events, especially for fundraising for charitable causes, but I have always been warned by friends from the arts to be cautious and be prepared to spend. Producing an opera is an expensive proposition.” Tantoco admits. “We are therefore very thankful to our presenters and sponsors including Resorts World Manila, Megaworld and One Mega Group Inc. for supporting this project.”

This time she is raising funds for several charities, including the Endowment Fund of the Philippine Italian Association which supports the Servants of Charity, the Sister Handmaids of Charity and the Canossian Sons of Charity. Part of the proceeds will also go to the Philippine Philharmonic Orchestra which Tantoco actively supports.

“But, more important than having the financial capability to mount an opera production is the ability to produce a good one. With the encouragement of Italian Ambassador Luca Fornari, who referred me to the right person with an impeccable track record and who knew all the right contacts in La Scala, we now have all the right ingredients for producing a good opera.” Tantoco stresses.

That person is Antonio Petris, a noted Italian opera and stage director who is also a well-known set and costume designer. He will direct The Barber of Seville and design the costumes.

Working hand in hand with Petris is another Italian who is very familiar with the music scene in Manila – Maestro Ruggero Barbieri who will conduct the Philippine Philharmonic Orchestra for the opera.

The set design will be done by another Italian, scenographer Greta Podesta, and Filipino lighting designer Jay Aranda completes the artistic team.

Tantoco is quite enthusiastic about the progress of the production. “Everything is working out very well. I have only seen Antonio Petris in action once, during a practice, where I heard Arthur Espiritu and Rachelle Gerodias sing. When I finally received the DVD of Mario Cassi and Marco Filippo Romano, I flipped. These two were choices of Antonio Petris and endorsed by Maestro Barbieri. Indeed, I feel that the entire cast of The Barber of Seville is matched in talent,” she says.

The Barber of Seville production is a celebration of sorts, commemorating the 65th anniversary of Philippine-Italian diplomatic relations, the 50th anniversary of the Philippine Italian Association and Rustan’s 60th anniversary. As a production it presents a rare opportunity for outstanding Philippine and Italian artists to work together in an opera production that has not been seen in the Philippines in recent decades. With all of these incentives, my friends and I are eagerly preparing to troop to the CCP on gala night to savor this delightful musical delicacy.

The Barber of Seville goes onstage at the CCP on July 13 and 14 at 8 pm. For tickets