The Barber of Seville at the Grand Opera House — A Comic Classic That Still Delivers

The Barber of Seville at the Grand Opera House — A Comic Classic That Still Delivers

When The Barber of Seville premiered in Rome in 1816, it was — surprisingly — considered something of a disaster. Opening night was plagued by mishaps, audience hostility and backstage chaos. Hard to believe now, given that Gioachino Rossini’s sparkling comedy has since become one of the most beloved operas in the repertoire.

Thankfully, Lyric Opera’s latest Belfast production is anything but a flop. In fact, it’s a vibrant, colourful and genuinely entertaining night at the Grand Opera House.

✨ Wit, Chaos and Comic Energy

There’s something unmistakably timeless about Rossini’s masterpiece. Watching this production, I was reminded of The Importance of Being Earnest, which I recently saw at the Lyric Theatre. The same quick-fire wit, playful deception and sharp comic timing run through both works — and it makes for a thoroughly enjoyable evening.

This is opera with a smile firmly on its face.

🎩 Figaro Leads — But Lindoro Steals Hearts

At the centre of the story is the ever-resourceful Figaro, confidently brought to life by Australian baritone Morgan Pearse, whose stage presence anchors the production with flair and energy.

However — and perhaps unexpectedly — my personal standout of the night was the aristocratic lover Lindoro, played by Randall Bills. His performance was full of charm and theatrical mischief, and his many disguises were executed with real comic finesse. Every time he appeared, the production seemed to lift another notch.

I thoroughly enjoyed his character work — polished, playful and hugely engaging.

🎶 A Strong Cast Across the Board

The production benefits from an impressive international ensemble. Canadian bass Trevor Eliot Bowes brings delicious smarm to Don Basilio, while Matteo Torcaso adds weight and presence.

Belfast mezzo-soprano Sarah Richmond returns as Rosina, delivering a performance marked by a warm, resonant tone and impressive vocal control that showcases both power and agility.

Completing the cast are Belfast native Ryan Garnham in the dual roles of Fiorello and The Officer, and the ever-enjoyable Sandra Oman as Berta.

Under the guidance of internationally renowned bel canto specialist Carmen Santoro, alongside director Vivian Coates, the production moves at a lively, colourful pace that keeps Rossini’s comic engine ticking.

📱 Opera Isn’t for Everyone — But This Helps

Let’s be honest — opera can be a long evening, and it won’t be everyone’s first choice of night out.

One helpful addition was the digital surtitles translating the Italian. These are essential for accessibility, though on this occasion they weren’t always perfectly in sync. At times the translation lagged behind the action, and occasionally it felt as though the story had already moved on.

A small issue — but one that’s worth tightening.

🚨 Belfast Audiences — A Gentle Word…

One point that does need addressing isn’t on stage — it’s in the auditorium.

For certain performances like this, the Grand Opera House really should consider sweet and drink restrictions. Throughout the evening there were repeated distractions: persistent sweet-wrapper rustling and even a mobile phone ringing.

At times, it was genuinely disruptive.

Belfast audiences are usually excellent — but on this occasion, we can do better.

⭐ The Verdict

Despite minor distractions and the occasional surtitles hiccup, this is a bright, witty and highly enjoyable production that proves why The Barber of Seville has endured for more than two centuries.

Opera may not be for everyone — but if you’re curious, this lively Lyric Opera staging is a very fun place to start.

photos: Neil Harrison Photography