The theatre was only half full, I guess due to a disorderly organization, change of name half way through, relative little public attention and little communication on ticket sales. But the location is extremely suitable for an opera production, one has a cosy sense of intimate informality. Eric Gobin puts 3 doors on the stage and very few props but it works. The musical part was somewhat uneven. David Miller’s direction is flat and monotone and the lack of colours and variations spread to the singers as well, with few exceptions. From the singers Keith Tillotson as Bartolo acted over the top and sang with poor intonation, while Christine Schmidt as Marcellina had a wobbly-ish voice, but was overall acceptable. Pauline Claes and Gianna Cañete Gallo were convincing as Cherubino and Barbarina. Cécile Lastchenko as Susanna and Laura Telly Cambier as Countess sang well but with a horrendous, really horrendous pronunciation. Laurent Kubla and Shadi Torbey on the other hand were very good. (Except for the few unprecise colorature in the Count’s aria) they both had an extreme clear pronunciation, beautiful voice (which was perfect for the size of the theatre) and great singing. Both were truly enjoable (and Shadi Torbey was even announced sick). Good all other roles and the lovely girls of the choir. The royal Chambre Orchestra of Wallonia played well.
Director-David Miller, Mise en scene-Eric Gobin, Figaro-Shadi Torbey, Susanna-Cécile Lastchenko, Conte Almaviva-Laurent Kubla, Conteassa Almaviva-Laura Telly Cambier, Cherubino-Pauline Claes, Barbarina-Gianna Cañete Gallo, Basilio-John Manning, Don Curzio-Jean-Michel Van Oosten, Marcellina-Christine Schmidt, Bartolo-Keith Tillotson, Antonio-Yu-Hsiang Hsieh