A Saturday night at Opera Colorado’s performance of The Barber of Seville was helped along by an ingenious iPhone app.  Almost any event held at Denver’s Ellie Caulkins Opera House both benefits and suffers from the features of its seats, to wit, the incredibly uncomfortable seats (which could only have been selected because the folding chair manufacturer was out of stock)  along with the clever electronic seatback titling system called, appropriately, Figaro. Since few of Denver’s opera fans are either fluent in Italian (or French and German) or have an intimate knowledge of the sung libretto, the English translation provided by the pale blue OLED displays makes the performances much easier to follow. Such translation titling in America’s opera houses was once viewed as hayseed – a reflection of the lack of sophistication of US audiences – but has grown to be adopted by other country bumpkin facilities in Milan, Barcelona, London and Vienna.

Figaro Titling at the Ellie Caulkins Opera House

Suffice it to say that none of row D’s occupants had working Figaro’s to accompany Figaro, creating a less than optimal experience and quite a bit of griping to the helpless ushers during intermission. Having seen Barber staged, albeit close to 20 years earlier, I recalled that Act II has a large amount of sung character narrative that propels the action; in other words, it’s pretty hard to follow what’s going on without some type of libretto. So what to do? In the age of the iPhone could there be an app to bail the casual opera fan out? Indeed there is. A quick search of the App Store revealed that the good folks at Intermundia had an app that contained not only an English/Italian libretto, but an adjustable slider that would allow the text to move at a speed consistent with the performance – brilliant. So while the rest of my row scratched their heads through to the conclusion, I was more able to enjoy the chaos of Rossini’s comedy.

Opera App Saves the Evening

As to the performance? Opera Colorado’s production of one of music’s most beloved comedies turned out to be great fun. Director David Gately has staged this warhorse 30 times before utilizing a broadly comic reading that includes plenty of sight gags, cartoonish versions of the Bartolo and Basilio characters and a silly slow-motion brawl that ends Act I that would make fans of The Matrix proud. Rosina was beautifully sung by Isabel Leonard (remember that name as she may the next great young mezzo-soprano), her debut performance in the role. The opening night “talk back” session held by General Director Greg Carpenter and Director of Artistic Planning Brad Trexell was a welcome chance to gain insight into the production planning and thought process of the company.

A hearty Bravo to the cast – and to the inventiveness and ingenuity of the iPhone app.