Calgary Opera presents The Barber of Seville

By Laura Beldor, May 26 2026—

For the final production of their 2025-2026 season, The Calgary Opera put on performances of The Barber of Seville from April 18-24. The production takes a quirky take on the classic comedic opera  

The Barber of Seville is a story that most opera and classical music fans are familiar with. Originally a French play in the late 18th century, it was adapted into an opera by Italian composer Gioachino Rossini, which premiered in 1816. Since then, it has become one of the most frequently performed operas worldwide and is often praised for its witty comedy and iconic score.

The opera centres around Conte Almaviva, who wishes to win the heart of the beautiful Rosina. The main obstacle to his being with her is Rosina’s guardian, the oppressive Dr. Bartolo, who wishes to marry her himself. Conte Almaviva employs the help of the Barber Figaro to win the affection of the women he loves. Hijinx ensues as both Figaro and Conte Almaviva use costumes, schemes and trickery to get to Rosina. In the end, Almaviva and Rosina can get together despite the forces working against them.

In a production filled with some of the most distinguished opera singers from around the world, it is unsurprising that each character was masterfully played. The cast includes Grisha Martirosyan as Figaro, Juno winner John Tessier as Conte Almaviva, Siphozaki Molteno as Rosina, Dion Mazerolle as Doctor Bartolo and Adam Lau as Don Basilio, Rosina’s scheming music teacher. All of these performers were unafraid to lean into the humour of their roles while delivering powerful vocal performances. Martirosyan, as the title was a stand-out performance of the show. He thrilled the audience with his rich baritone voice and excellent comedic timing. 

The set of Doctor Botolo’s house, created by long-time Calgary Opera set designer Scott Reid, featured tall pillars and dramatic staircases. The set resembled the interior of a dollhouse, which emphasized how, from the audience’s perspective, the opera is a peek into the chaotic domestic lives of the individuals in the show.   

Costuming was one of the most interesting aspects of the production, with some performers wearing 19th-century-inspired looks, while others wore flashy suits reminiscent of clothes worn by the musical artist, Prince. Though one could argue that these costuming choices lacked cohesion, these eclectic style decisions further emphasize the eccentricity of the light-hearted nature of the story. The bright, bold patterns and colours used by the costuming also worked to highlight the bold personalities of each of the characters.

Overall, this show was fun, over the top, just as a production of The Barber of Seville is meant to be. Calgary Opera emphasizes how humour, like any other art form, can transcend time and language to appeal to modern audiences.