Ross Zentner
A woman, Rosina, sits on a piano as a man stands at the keyboard.
David Walton (Count Almaviva), left, and Keely Futterer (Rosina) in Madison Opera's production of The Barber of Seville.
The Barber of Seville remains one of Gioachino Rossini’s most beloved and frequently performed works, embodying the composer’s signature effervescent style. For many, Rossini's familiar tunes recall childhood memories, like watching Bugs Bunny humorously perform segments from the opera. While the music alone stands strong, its roots in Pierre Beaumarchais' play add depth, blending Rossini’s musical genius with one of history's greatest comedies. Madison Opera delivers a lively, ensemble-driven production that keeps the audience captivated throughout its nearly three-hour runtime. The final performance takes place at the Overture Center on Sunday, Nov. 3, at 2:30 p.m.
The story follows the clever barber Figaro (Benjamin Taylor) as he helps Count Almaviva (David Walton) win the heart of Rosina (Keely Futterer), who is closely watched by her suspicious guardian, Dr. Bartolo (Levi Hernandez). Packed with disguises, schemes and comic mishaps, the opera never loses its playful spirit. Watching Almaviva shed his aristocratic airs to mingle among commoners remains as amusing today as it probably was when Beaumarchais first brought the tale to life.
Baritone Taylor made a stellar Figaro, delivering a warm, even tone that captivated from top to bottom. His "Largo al factotum" was a thrilling highlight, performed with dazzling speed, precision, and charm. Taylor masterfully balanced vocal athleticism with a charismatic stage presence, making for an unforgettable performance.
Walton’s lyric tenor as Count Almaviva was everything you’d want for Rossini: agile, expressive and beautifully consistent. Having heard Walton more than a decade ago, I was excited to witness his artistic growth, and he did not disappoint. His matured sound and infectious energy made every moment a joy to watch and hear.
Futterer brought down the house with her aria "Una voce poco fa," delivering a showstopper full of vocal fireworks and impeccable control. Even when singing from physically challenging positions — lying on her back and nearly upside down — her melodic runs were flawless. It was a delight to see her continued growth since The Anonymous Lover last spring.
Hernandez, who made his Madison Opera debut in 2006, has only refined his craft over the years. His rich, resonant voice, paired with his comedic timing, drew waves of laughter from the audience and makes him the comedic linchpin in the production.
Not every performance hit the mark. Don Basilio (Alex Taylor), in his aria "La calunnia," lacked the commanding resonance needed for full impact, with timing and intonation issues causing unsteady moments. The Madison Symphony Orchestra, usually exemplary, also had minor lapses, with occasional timing inconsistencies and moments where brilliance and crispness were lost.
Lush scenery transported the audience to Seville, with vibrant sets capturing the city’s charm. The production embraced the opera’s Italian roots while celebrating its Spanish flair, proving once again that Madison Opera is a regional powerhouse, blending artistry with community spirit.
