Opera Philadelphia's 40th Season Is All Over Town

Launching their 40th season with a classic favorite, Opera Philadelphia's production of Rossini's "The Barber of Seville" sold out the Academy of Music; and the next night an estimated 6,000 people camped out in front of Independence Hall to watch the recorded live broadcast of that performance on two arena screens. It was the fourth free event broadcast in their Opera on the Mall series, but attendance was up about 4,000 from last year, which shows how much of an opera-loving town Philly is.

In his two years as new artistic director of the company, David Devan has tapped into that love in innovative ways that have paid off with a more vibrant presence all over town, not just with long-time moneyed patrons, but also in attracting new audiences. Devan and his team are building a model for sustainable regional opera in America.

Increasingly they are also tapping into the deep field of musical resources in already in Philadelphia, home of the revered Curtis Institute of Music and the Academy of Vocal Arts, for instance. Devan's vision is not limited to classical music and opera though; he has projects in development that involve other musical genres as well as collaborations in other performing and visual art forms.

Among the projects connecting to young audiences "We Shall Not Be Moved: The Hip H'opera Project" performed earlier this year, connecting with student singers joining the cast of young opera stars, with libretto by New York poet and hip-hop dance-theater artist Marc Bamuthi Joseph.

OP is 'occupying' the city with pop up performances at the Philadelphia Museum of Art, Eastern State Penitentiary, during the monthly 'First Friday' art gallery crawls in Old City and they even took the music to the aisles of local supermarkets. Other projects around Philly included the "Death and The Powers" a global simulcast from the Franklin Institute. Nothing seems out of opera bounds.

One of the works-in-progress that has already built a following is "ANDY: A Popera" a work in progress collaboration by Opera Philadelphia and the Philly cabaret troupe The Bearded Ladies and will have its full l premier next year. "Charlie Parker's Yardbird" a new opera - bio of the jazz giant with powerhouse Met stars Lawrence Brownlee and Angela Brown, in the leads, with the potential to attract crossover audiences from Philadelphia's jazz community when it premieres next spring. In February, OP will unveil the East Coast premiere of "Oscar," about Oscar Wilde with countertenor David Daniel as Oscar Wilde and dancer-actor Reed Luplau ("5 Dances") in the role of Lord Alfred Douglas.

The company is not abandoning classic repertoire, but envisioning it in artistically bolder and more populous ways. In addition to "The Barber of Seville" this season, there will be productions of Richard Strauss' "Ariadne auf Naxos" and Giuseppe Verdi's "Don Carlo."

Seville combines classicism with a fashion-forward makeover, starting with the snarky baritone Jonathan Beyer as the buff Barber, who rolls into Seville on his bike. On top of those famed Rossini vocal gymnastics and orchestral gallops, director Michael Shell packs it with a biting visual humor inspired by the films of out director Pedro Almodovar. As splashy as it is, especially the retro-mod costume design by Amanda Seymour, it doesn't overwhelm the fine vocal performances. Almost stealing the show is Taylor Stayton, as the incognito Count, who needs love advice to make latte with the smoldering Rosina, sung to the rafters by Jennifer Hollaway. Stayton was resident artist at the Academy of Vocal Arts, leaving in 2011 and building a reputation as formidable Rossini tenor.

Performance of The Barber of Seville run through Oct 5 at the Academy of Music, Broad & Locust St. Phila. For complete season information go to www.operaphila.org