In Saturday’s (10/26) Orlando Sentinel (Florida), Matthew J. Palm writes, “When the [Orlando Philharmonic Orchestras] began producing opera in 2009, the orchestra’s leadership said its productions would focus on the music. The musicians played on stage. Costuming, props and set design were kept to a minimum. But jump ahead a few years, as the productions have grown more elaborate, and this Barber of Seville is just a bit of plaster and wood away from traditional opera. The orchestra is back in the pit—although at a raised level so the musicians can be seen during the performance.… And, true, there’s no gleaming faux marble backdrop or imposing pillars for this fantasy world, as in a traditional set—but there’s something better. Lisa Buck’s graphic-design backdrop projections do more than fix the story’s place; they set the mood.… A final but by no means insignificant piece to the opera series’ steady progress is the growing strength of the chorus, directed by Robin Stamper.… The principal singers were also in fine form.… In the Orlando Philharmonic’s evolution as opera producer, The Barber of Seville is another successful step forward.”
Posted October 29, 2013
