I’m gonna get that waaaabbit” is what Elmer Fudd sang to the Overture of Gioachino Rossin’s The Barber of Seville (Il barbiere di Siviglia) as he was out hunting Bugs Bunny. But, in truth, the Manitoba Opera’s performance last week of the classic 19th-century comic opera provided even more laughs than that cartoon ever did.

Permit me to give you a brief synopsis, my style: Count Almaviva (Victor Ryan Robertson) has the hots for this hottie, Rosina (Nikki Enfield), who is being kept by the original Snidely Whiplash character, Dr. Bartolo (Peter Strummer). The count has fallen madly in love with Rosina after seeing her once while walking through the market one day — nothing like the realism of opera, right? He has vowed to woo and marry her, setting himself up as the Dudley Do-Right foil to Bartolo.

Act one opens with a group of musicians that have been hired to play while the count serenades his beloved. This fails to have the expected results leading the count to hire the town barber, Figaro (James Westman), to conceive a winning strategy. So Figaro has the count dress as a drunken soldier who has been billeted at Bartolo’s house, obviously.

The final scene of Act one is incredibly funny. A detachment of police have arrived at Bartolo’s to quell a quarrel. A riot breaks out giving rise to riotous laughter as the scene unfolds in slow motion. This scene is the origin of slapstick and the Keystone Kops, Charlie Chaplin and Buster Keaton all rolled into one. While all this madcap mayhem is taking place, Rosina and the count are making out under a table.

So ends Act one. Act two is even zanier.

Ability to act has taken precedence over singing ability in this opera, although the singing talent is considerable. Two to be singled out are Nikki Enfield and Peter Strummers. Enfield, the coloratura soprano, is Winnipeg-born. She was a Grand Finalist in the 2006 Metropolitan Opera National Council Auditions. Her voice is exquisite as befits one achieving this high honour.
Strummer, the bass-baritone, is a comic genius. His portrait of Dr. Bartolo is of the consummate buffoon. Strummer may not be a great singer, but no one would be better at the role he is required to play.

If there is one requirement for an opera singer, it is the ability to project one’s voice. This was the weakness of this opera’s star performer, Westman. But when you actually were able to hear his baritone voice, you appreciated its richness. He also did a very good job at acting his part.

If you have ever attended an HD Live from the Met broadcast at Silver City, you will discover at least one benefit of attending a Manitoba Opera production. Just like a sporting event, being part of a live audience is always better. We may not be able to afford the stars or the scenery that the Metropolitan Opera in New York City can, but actually being there provides a unique experience that no broadcast can.

And no Chuck Jones cartoon can match the splendour of Rossini’s enduring classic.