There’s a reason operatic masterpieces remain popular even in their traditional settings.
Under the direction of Kyle Lang, the team of designers at Charlottesville Opera did perfect justice to Rossini’s work in this, the second and final opera of their summer season. One couldn’t help but revel in Rosina’s bright gown and the lace cravats donned by the men by Glenn Avery Breed, not to mention the dollhouse set by Liliana Duque Piñeiro that not only looked appropriately like a house one would come across in Spain, but also opened and closed as needed depending on whether the scene was taking place outside or inside.
With a warm welcome from artistic director Dr. Caroline Worra and general director Dr. Leanne P. Clement, off the orchestra went with conductor Djordje Nesic at the helm, treating the audience to the iconic overture. The only enhancement would have been a staged overture, but Lang’s music-informed staging of the rest of the opera all but made up for that. Lang also served as choreographer for this production, and his work with the chorus made for some effective moments so that they felt like another principal character.
The first aria of the show, “Ecco ridente in cielo,” belonged to the character of Count Almaviva, played by Angel Raii Gomez. His rendition was gorgeous, with incredible dynamic control and enhanced by the sounds of a guitar in the orchestra. This is a character and performance so likeable and genuine that one feels disappointed that the Count later becomes the philandering Count of Mozart’s Le nozze di Figaro. But this characterization must be savored in the moment. Later, in the second act, he had some beautiful soft high notes, then blew the audience away with a sustained high note at the end of “Ah più lieto.”
Along came Figaro, played by Ethan Vincent, to deliver the famous “Largo al factotum.” This is a great “I am” song, and was extremely well-sung. It was also great to see this done in a way where the actor could stand and deliver, without having to do tons of stage business. Vincent still managed to play Figaro as the total ham that he is here, just by his face alone.
Dennis Jesse as Dr. Bartolo was hilarious, with a particularly memorable recurring bit regarding the locking of the door of his house to keep his ward Rosina inside. In that role of Rosina was Elise Miller, who made a beautiful entrance with “Una voce poco fa.” Particularly interesting in this rendition were her ornaments, and her acting was excellent in that the audience could buy that she was a sixteen-year-old girl.
Unsurprisingly for someone who has sung at Carnegie Hall, Kevin Thompson as Don Basilio brought an amazingly resonant, booming bass voice. He was nothing short of perfect in this role. Likewise, Kristen Marie Gillis made an impression in her featured role as Berta. Her characterization was appropriately sassy and her singing was excellent, her voice a nice soprano capable of a lovely float. She deserved the enthusiastic applause she got after her aria.
Vocally, there was great coloratura facility in this cast all around, which is critical for a bel canto opera like this one. Their recitative sections were good, as well as their Italian diction. The sextet toward the end of the first act also had well-executed staccati from everyone. In terms of their acting, everything felt fast-paced in a good way. Vincent and Miller were charming together, and I loved how goofy the situation felt when Gomez appeared as “Lindoro,” pretending to be a drunk soldier in need of help. The end of the first act also had some delightful fanography and rifleography from the chorus and principals to engage the eye. Gomez and Miller made a cute couple as the Count and Rosina; it would be impossible not to root for them getting and staying together.
This was a classic production of a classic opera that really understood its humor. The singing was exquisite, the acting and direction on-point with some really nice stage pictures, impressive patter, and beautiful design. One cannot imagine a better way to enjoy part of a summer afternoon.
Maggie Ramsey
Il Barbiere di Siviglia
Music by Gioachino Rossini
Libretto by Cesare Sterbini
Cast and Production Staff:
Rosina – Elise Miller; Count Almaviva – Angel Raii Gomez; Figaro – Ethan Vincent; Doctor Bartolo – Dennis Jesse; Don Basilio – Kevin Thompson; Berta – Kristen Marie Gillis; Fiorello – Cody Carlson; Officer – Stephen Riesen; Ambrogio – Daniel Lentz; Notary – Matthew Youngblood; Chorus – Andrew Boisvert, James E. Brown III, Cody Carlson, Kelly Carney, Frankie Davis Daniels, Daniel Lentz, Wendell Martin, Jack Merson, Robbie Raso, Keegan Rhyu, Stephen Riesen, Logan Tarwater, Michael Varilla, Matthew Youngblood
Conductor – Djordje Nesic; Stage Director – Kyle Lang; Choreographer – Kyle Lang; Production Stage Manager – Kurt Howard; Chorus Master/Assistant Conductor – Emily Baltzer; Scenic Designer – Liliana Duque Piñeiro; Lighting Designer – Paige Blackwell; Costume Designer – Glenn Avery Breed; Costumes provided by Wardrobe Witchery; Costume Coordinator – Kate Abraham; Wig and Makeup Deisgner – Elyse Messick; Assistant Director – Helen Aberger; Supertitlist – Ella Caplin
Charlottesville, VA, July 19, 2026
All photos by Rettig Co. Photography