Canadian Opera Company: The Barber of Seville, Gioachino Rossini. Luke Sutliff, Figaro; Joan Font, director; Daniela Candillari, conductor; Joan Guillén, Set & Costume Designer, with: Dave Monaco, Count Almaviva (February 5 to 15); Pietro Adaini, Count Almaviva (February 17 to 21); Deepa Johnny, Rosina; Renato Girolami, Bartolo; Ariana Maubach, Berta; Luca Pisaroni, Basilio; Nathan Keoughan,Fiorello & Officer. February 15, 2026, Four Seasons Centre for the Arts. Continues until February 21; tickets here.
The Canadian Opera Company’s production of The Barber of Seville is, quite simply put, fun and funny. The humour in the story and delivery supported by Gioachino Rossini’s fabulous score reinforces why this opera is a fan favourite and a great introduction to anyone new to opera.
The comedy is rooted in devices of disguises and deception. The journey for Count Almaviva and Rosina to unite in love, aided by Figaro the barber, faces obstacles from Doctor Bartolo, Rosina’s elderly guardian.
As the story unfolds, you wonder, “What could possibly go wrong?”
The music, predominantly the overture, is so iconic that it has a standing in pop culture. I overheard a patron behind me remark, “They should play the Bugs Bunny version at intermission.”
Before the curtain opened, conductor Daniela Candillari led the COC orchestra through the irrepressible overture, highlighting how magnificently delightful Rossini’s music is.
The Cast
The cast was uniformly superb, with particularly strong comedic timing across the board. Physical movements were clearly choreographed with the music.
Luke Sutliff’s Figaro emerged as a controlled and collected fixer of problems, for a price, of course. His “Largo al factotum” was delivered with vivacious patter that left me breathless, even if the staging at that moment felt a touch static.
Dave Monaco (on this performance, sharing the role with Pietro Adaini) was a versatile Count Almaviva, using both physicality and vocal colour to differentiate his disguises — the poor student Lindoro, the absurd soldier, and the substitute music teacher Don Alonso. Deepa Johnny’s Rosina shone with beautiful, agile coloratura, projecting not just technical finesse but a smart, confident presence.
Renato Girolami was an absolutely hilarious Bartolo. His rapid Italianate diction gave the role a memorable portrayal, and his performance was highly entertaining. As Basilio, Luca Pisaroni was suitably intimidating as the music teacher.
The most enjoyable scene for me was Rosina’s music lesson, where Don Alonso’s exaggerated handling of the enormous piano, under Bartolo’s vigilant gaze, sparked endless hilarity.
The Visuals
The production leaned heavily into commedia dell’arte and circus aesthetics. Bald caps with side tufts of hair, pantomime, and clown-like gestures created a world that brought the fun of a carnival into the opera house. There were moments when the characters moved mechanically, illuminated by a glaring light that gave the impression of puppets.
The palette that included lime greens and pinks was vibrant without tipping into gaudiness. The set itself was simple and understated, allowing the animation of the characters.
The supernumerary actors, with no speaking or singing roles, added a layer of visual texture. They never distracted, but offered small easter eggs for wandering eyes, mini vignettes unfolding at the edges of the main action.
On my way out, I overheard patrons remarking on the secondary characters creating backstories for them, a testament to the production’s imaginative charm.
Final Thoughts
The Canadian Opera Company’s Barber of Seville is bright, playful, and utterly delightful. With music that bubbles, acting that charms, and visuals that pop, it delivers a joyful and entertaining experience that only live theatre can provide.
By Albert Wong for Ludwig-Van.
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