On the last evening but one of this year’s Gaulitana Festival, which also happened to be in its 10th edition, the festival very justly marked the second centenary of the premiere of Rossini’s great masterpiece The Barber of Seville. What a bubbly event it was with the Aurora Opera House almost full for this event.

There was much to recommend this production, which was directed by Enrico Castiglione who was also the set designer, and with a frequently effervescent Malta Philharmonic Orchestra (leader Marcelline Agius) conducted by that ever-energetic live wire Colin Attard. It was a case of great team-work all around and a quite brilliant cast.

Castiglione opted for 18th century period costumes designed by Sonia Cammarata. The very bare stage made one feel closer to the characters, who were accorded their own personal niche in the form of the only props, namely differently coloured frames. Whenever there was need for interaction or solo contributions they just stepped out through the frames in the most natural way possible, leaving the scene and back to their frame until gradually fading away off-stage.

The opera’s characters were very much alive and real. No wonder that this opera buffa is not only Rossini’s greatest work but also the greatest opera buffa of all time enjoying a rock-solid popularity for two centuries. All characters acted out and lived their roles in the most convincing manner and even in the most complicated patter sequences I could follow their every word.

Gaulitana’s opera productions at the aurora are winning laudable public support

The orchestra’s well-wrought crescendi added to the bustle and the sheer madness of the finale to Act 1 was utterly brilliant. Davide Luciano had all it takes to make a lovable if a bit rascally Figaro with singing of the highest order. In a slightly lesser but even more venal role there was Petar Nayvedov’s equally convincing Don Basilio.

I must confess that I have heard tenor Nico Darmanin singing better. Nothing wrong with his coloratura of which he had many sequences to deal with, and that successfully. Neither did he fail to project with great conviction the amorously anxious and enterprising Almaviva. His singing was a bit too much dalla gola. He can do better as he can be a classy and elegant singer and could have, with more care, projected in a warmer manner. If possible I still look forward to his next appearance wherever or whenever that could be.

Rosina, Dr Bartolo’s ward (not pupil) was entrusted to mezzo-soprano Sonia Cammarata, who, except for a few shrill top notes, sang very well, comely of presence technically and musically, well-endowed and an admirable Rosina.

The latter’s scheming guardian (not guard) Dr Bartolo was in the excellent hands of Bruno Praticò. His interpretation was a gem, consequently a basso buffo par excellence. Berta, his patient, sneezing tata or governess, was also a fine rendering by soprano Marta Calcaterra, enjoying a bit of limelight in Il vecchietto cerca moglie.

Baritone Joseph Lia dealt well with the minor double role(s) of Fiorello, the Count’s servant and as an army officer.

The all-male Gaulitana chorus coached by Attard put on a good show too. Equally admir-able were Donald Camilleri’s light effects.

Gaulitana’s opera productions at the Aurora are winning laudable public support and one looks forward to what Attard has up his sleeve for next year.