Opera in the Outfield

About 20 thousand opera lovers and those just looking for a good, free night of entertainment turned out to see the Washington National Opera's season opener The Barber of Seville simulcast in HD from Nationals Ballpark on Saturday 9/12/09. The festive crowd, dressed casually and loaded down with picnic fare, happily texted, photographed, and generally kicked back during a fun-filled evening lasting approximately 3 hours.

The Washington Theater Community should take note: Provide a night of free entertainment for the general public and they will come ... in droves. Not nights of free theater, benefiting the trendy and well-heeled crowd in Penn Quarter - forced to queue up for blocks and crammed into tight seats - but nights (or days) at a big, informal, and outdoors venue. Joseph Papp come back: DC needs you!!

To prepare opera novices (especially children), and for the delight of the old guard, the WNO ran a Warner Brothers cartoon entitled The Rabbit of Seville. The preposterous plot was summarized several times before performance, and the Act 2 synopsis was run again at the intermission. Together with the surtitles by Francis Rizzo and over-the-top acting in this Opera Buffa production, directed with playfulness by David Gately, there was no doubt what was occurring at any given time. I've heard tens of thousands cheer and groan (many times this year at the ballpark), but it is quite a performing arts experience (sports is a performing art) to actually hear this many people spontaneously roar with laughter.

The image quality from this new technology was stunning. Every nuance of the actor's performance was conveyed to the farthest reach of the audience space, easily surpassing anything beyond the tenth row at the Kennedy Center. The pastel-fairyland set by Allen Moyer and costumes by James Scott, deftly lighted by Jeff Bruckerhoff, were rendered in exquisite and detailed color.

Opera snobs may quibble about the casting and direction, but The Barber was originally conceived as a low-brow comedy in the Italian tradition with stock characters and situations which were intended to delight the masses. To that extent, the production delivered admirably. Lawrence Brownlee as Almaviva did indeed demonstrate his lively heart and soul with a wonderfully melodic and spirited tenor voice. Mezzo soprano Silvia Tro Santafé playing Rosina displayed flashes of her bel canto style in the work's signature arias and was delightfully forceful in "having her own way." Simone Albergheni playing the eponymous Barber, resembled more of the modern-day Borat than the Figaro of old, but still managed to hit all the right notes. Additional comedic oomph was provided by Donatello DiStephano (Bartolo), Eric Owens (Don Basillo), Cynthia Hanna (Berta), and David Morris (Ambrogio).

The music was sublime throughout and served up admirably by music director, Michele Mariotti.

The WNO and their partners are to be commended for their efforts in bringing a free evening of culture to DC-area residents and our visitors. Everyone walked away a winner: the WNO, with a database of potential future opera patrons; the Nationals - they were backed up at the concession stands with hungry and thirsty customers - who may have finally introduced their stadium to the last holdouts; the corporate sponsors and politicians who were able to showcase their products; and thousands who experienced the show and the good will that went with it. It will be long remembered.

The Barber is repeated 9/14-20 with a different cast and conductor, on different days. Check www.dc-opera.org for times and performers. I can't vouch for the indoor experience - the Kennedy Center does not make tickets available for non-commercial print or internet sites (such as my own), but if they altered their policy, I would break out a tie, **** I might break out my tux! - and cover their production. And I would not take photos or text or bring my dinner ... I promise!