"Just so you know, the first act is an hour and a half long," the attendant warned as she handed me a program for The Dallas Opera's Sunday matinee performance of The Barber of Seville and directed me to my seat.
|Karen Almond, Dallas Opera|
|Dr. Bartolo, played by Donato DiSteafano, (left) is fooled by Count Almaviva, played by Alek Shrader, who shows up in disguise as a music teacher with a tiny violin.|
While I'm sure her comment was meant as a friendly (if not also a bit motherly) suggestion to hit up the lady's room before I settled into my seat, it sounded ominous, as if she was preparing all who entered for some kind of lengthy operatic purgatory.
Opera can be challenging theater. It's a complex medium -- combining theatrical, musical and visual arts -- that is notoriously hard to pull off well and has a penchant for long-windedness. When it is great, it is transcendent, but when all of those elements don't meld together successfully, it can be a bit of a drag.
On Sunday I was already feeling a little bummed to be indoors instead of out on such a gorgeous spring day. As I settled into my seat, I tried to push visions of sunny patios and mimosas out of my mind and reminded myself of what so many faithful opera-goers often do: "I sat through Wagner's entire Ring cycle! Ninety minutes of Rossini is a breeze."
As soon as the curtain rose on the whimsical set and the familiar, lively strains of Rossini's music rose from the pit, I forgot about everything outside the Winspear Opera House. This production flies by -- in part because both musical and comedic timing are incredibly fast-paced -- but mostly because across the board the acting and singing is exceptional. More »