The Barber of Seville (Opera Australia), at Regent Theatre - 2 hours 45 minutes, including interval

I can’t speak highly enough of the comic might of Gioachino Rossini’s The Barber of Seville (with libretto by Cesare Sterbini), as performed so adroitly by Opera Australia.

If you have not seen this hilarious opera, let me draw a comparison to the cleverness inherent in arguably the finest popular British TV comedy Fawlty Towers.

Like that sitcom, this is orchestrated mayhem on a grand scale, led with distinction by baritone Samuel Dundas as the masterful central figure, Figaro.

With a broad grin, he is the puppet master extraordinaire in the tale of two young people feted to be together, but facing an obstinate obstacle.

As Rosina, mezzo soprano Helen Sherman metaphorically sings her lungs out, passionately expressing her love for Count Almaviva.

He, in turn, would walk over broken glass to be with his one true love, disguising himself to be with her.

And, boy, does tenor Shanul Sharma in that role sing for his supper, presenting himself as a man on a mission from which he will not be swayed.

There, as the belligerent and persistent gatekeeper, is Rosina’s older, irascible guardian, Dr Bartolo, who wants Rosina for himself.

Baritone Andrew Moran adds considerable heft to his imposing performance as the stern, cantankerous and deeply suspicious physician.

He is intent on ensuring that no one will pull the wool over his eyes, but – of course – they do.

Another key player in the imbroglio is Rosina’s music teacher, Don Basilio, an ally of Dr Bartolo, nevertheless open to being bribed.

With striking black eye shadow, clerical black garb and prominent cross draped around his neck, bass David Parkin presents as an imposing figure.

Attending to Dr Bartolo’s hapless array of patients (and aren’t they a hoot!) is his weary housekeeper Berta, who has a secret longing for love herself.

Soprano Jane Ede shines as the observer of the chaos all around her.

With much of the action fashioned in a striking doll’s house like set, beautifully realised by designer Michael Yeargan, The Barber of Seville is tremendous fun.

Complete with bumbling cops, the evocative wardrobe by costume designer Dona Granata adds to the farce.

Before this is over, gregarious conductor Tahu Matheson has led Orchestra Victoria on the merry road to musical happiness.

Director Elijah Moshinsky and revival director Heather Fairbairn do justice to the finest of fine comedies, designed to put a smile on your face.

Having pulled out all stops, I assure you it does … and how.

Performed in Italian with English surtitles, Opera Australia’s The Barber of Seville, on at Regent Theatre until 5^th November, 2025, is not to be missed.