OPERA REVIEW : Overload of Farce Unravels ‘Barbiere’

Comedy apparently means farce at Opera Pacific. Take Rossini’s “Il Barbiere di Siviglia,” which the company opened Saturday at the Orange County Performing Arts Center in Costa Mesa.

David DiChiera, the local impresario, reengaged Dorothy Danner to lay a heavy directorial hand on Rossini’s comic masterpiece. She it was who had brought Lehar’s “Merry Widow” to vulgar lows for the company in 1994, and she didn’t disappoint now.

Was there a single easy or bad-taste joke she left out? Probably not. Bartolo sat on a pin. He stepped in something he had to wipe off his shoe. He took time to play hopscotch. At least he didn’t drop his pants. But he might have.

It was that kind of night. Danner provided fussy stage business at every opportunity. Most of it didn’t add anything, certainly not in humanizing the characters, but it did coarsen the work.

Some of it might have been bearable if the vocal demands of bel canto had been well met. They weren’t. Judging by three hallmarks--purity of vowels (and therefore beauty of tone), legato (or connected) phrasing and agility to negotiate coloratura--DiChiera offered a subpar cast.

To their credit, however, the singers did try to offer some stylish embellishments, even if the effort usually revealed their weaknesses.

As Almaviva, Jorge Lopez-Yanez sang with pointillistic brightness and accuracy, but without much legato. This led to a tediousness in listening to the voice.

Vivica Genaux made a trim, attractive, perky Rosina. Unfortunately, her coloratura proved unreliable, turning hard and unpleasant more often than it bloomed.

Los Angeles-born Earle Patriarco mugged mercilessly as a hyperactive Figaro. From his point of view, apparently, never was the title of the opera to be taken more seriously. This was Figaro’s show, and he wasn’t going to let a minute go by without his pushing the point. This was not endearing or well-judged.

His baritone was cloudy and gravelly, and his Italian, although he comes by it naturally from his father’s side, hardly sounded idiomatic or clear.

Thomas Hammons made a stock buffo caricature of Bartolo, but sang strongly. Chester Patton sang Basilio with woolly diction.

Henry Venanzi’s chorus belted lustily.

Patrick Summers conducted the Opera Pacific Orchestra with more brio than finesse.

David Gano designed the sparse unit sets, framed with a proscenium arch suggesting a set within a set, in 1983 for New Orleans Opera. Jean-Pierre Ponnelle designed the costumes.

* Performances will continue March 20, 22 and 30 at 8 p.m. and March 17 and 24 at 2 p.m. at the Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Brad Diamond will sing Almaviva on March 17, 24 and 30. $18 to $85. (714) 474-4488.