New ‘Barber of Seville’ has dramatic sensibility

“The Barber of Seville”

Oct. 15 at 8 p.m. and Oct. 17 at 2… “The Barber of Seville”

Oct. 15 at 8 p.m. and Oct. 17 at 2 p.m.

Benedum Center

Tickets: $10, $16, and$33 for students

Pitt Arts tickets must be

purchased by noon

Although “wingman” might be an expression found often in entertainment similar to “Superbad” and “How I Met Your Mother,” the concept originated in an opera set in a turn-of-the-century Spanish barbershop.

“The Barber of Seville,” a highbrow variation on the theme of a love-struck man and his accomplice, is Pittsburgh Opera’s 72nd season opener. Its arias and overtures will fill the space of the Benedum Center for only two remaining nights, but for those who do manage to catch the final performances, the experience will leave a lasting impression.

Approximately 20 years of experience has taught Pittsburgh Opera director of marketing and communications Debra Bell that it takes a village to put on an opera. Seasonal and show-specific staffs work with a full-time group of employees stationed at the Pittsburgh Opera’s headquarters in the Strip District.

“We are a producing opera company, rather than a presenting opera company, thereby supporting the local economy with jobs in everything from stitching costumes, building set pieces, to music, marketing, makeup and fundraising,” Bell said.

Through music, “The Barber of Seville” tells the story of how a typical barber and male socialite named Figaro becomes a matchmaker for one of his friends. Just as Dr. Bartolo decides to propose marriage to his teenage ward Rosina, he learns that Figaro’s friend Count Almaviva loves her as well. With Figaro as his accomplice, Almaviva attempts to win Rosina’s heart for good — but first he has to overcome the tricky tactics of Bartolo and the girl’s music instructor Basilio.

The music and Italian lyrics for this opera are provided by composer Gioachino Rossini, with a libretto by Cesare Sterbini. The show is adapted from Pierre Beaumarchais’ play “Le Barbier de Séville” and is the prequel to Mozart’s “The Marriage of Figaro.” “The Barber of Seville” flopped when it premiered in the early 1800s, but has since transcended its infamy to become one of North America’s most frequently performed operas.

Baritone Matthew Worth stars as the jack of all trades Figaro in the student matinee. During his nine years of formal operatic training, Worth studied at the Manhattan School of Music and Juilliard.

“[Figaro] is someone who gets things done any way he can, whether it’s with his charm or deceit. I certainly wish that I was a little bit of a joker like Figaro, but I don’t think I have all the tricks of the trade that he does,” Worth said.

Worth said he engages in a lengthy warm-up ritual to prepare himself vocally and mentally for each performance, referring to himself as a “creature of habit.” Out of all his rituals, he emphasizes his need for a tasty bowl of soup on the day of each show.

This sort of familiar routine is a necessary comfort in such an unorthodox production. Fans of the performance might recognize an exceptional level of grit and raw emotion — attributable, first and foremost, to the work of director A. Scott Parry, set designer Allen Moyer, costume designer James Scott and the rest of the technical team behind the curtain.

“There’s not just a bunch of smiles and dancing and happy faces. We take these characters to be more than just cartoons, more than just caricatures of how they were written down on the page. They are treated as people with diverse personalities,” Worth said.

Pittsburgh Opera is holding an annual event in conjunction with this production to enhance the Spanish ambiance. The 56th Diamond Horseshoe Ball, titled “A Night in Seville,” will be held on Oct. 9 in the Westin Convention Center ballroom to celebrate the show’s opening.

The black-tie affair will culminate in an Opera Blast party immediately following the performance.

In a culture where operatic tragedies like “Aida,” “Carmen” and “La Bohème” reign supreme, the comedy ”The Barber of Seville” stands apart. Pittsburgh Opera’s production may give the story a new edge, but patrons will be hard-pressed to walk out of the Benedum Center without humming the show’s classic “Figaro, Figaro, Fiiiiigaarrrrrro” aria.