Understudy steps up brilliantly in Florentine Opera's comic 'The Barber of Seville'

Live performances sometimes offer dramatic twists and turns that are neither planned nor predictable — for instance Wednesday evening’s dress rehearsal for the Florentine Opera’s weekend production Gioachino Rossini’s “Il barbiere di Siviglia” ("The Barber of Seville").

The company was just a few scenes into the final rehearsal for the sumptuously set and costumed production (conducted by Francesco Milioto and directed by Christopher Mattaliano), when illness forced tenor Aaron Crouch to withdraw from the large, significant role of Count Almaviva.

Enter understudy Patrick Bessenbacher, who is one of the company's Baumgartner Studio Artists this year.

The studio artists are young professionals who audition for a spot in one of several similar training programs with various opera companies. At the Florentine, they sign on for a year (some return for a second year), during which they perform small roles in mainstage productions, give school performances, sing recitals, etc., while receiving extensive vocal and musical coaching and learning some major opera roles by understudying them for the mainstage productions.

Bessenbacher, who was in costume as a member of the opera’s small chorus of men when he was tapped to step into the spotlight to replace Crouch, did an absolutely brilliant job.

He sang beautifully, delivering solo passages and ensembles with the other principals with poise, precision, great facility and finesse, and a sterling tenor sound. He created a charming, animated character, fitting seamlessly into scenes, interacting easily with the other characters, giving a performance that never crossed the footlights as a last-minute casting change.

The production itself features a strong, well-balanced cast.

Baritone LeRoy Davis gave a completely winning portrayal of Figaro (the barber), creating a playful, engaging character and singing with power, ease, and a full rich sound.

Mezzo-soprano Katherine Beck gave a completely winning performance as Rosina, bringing a warm, sparkling sound to the role, as well as tremendous vocal agility. That warmth extended to the magnetic character, she created.

Bass-baritone Patrick Carfizzi’s Doctor Bartolo was built of spot-on theatrical sense, a decisive stage presence, an engaging take on his character, and a wonderfully rich, agile sound.

Bass Adam Lau cut a fine figure as Don Basilio. He created a character with strong stage presence, and produced a big, refined, sit-up-and-take notice sound and easy deliveries.

Soprano Laura McCauley delivered engaging, beautifully sung take on Berta, while baritone Zachary Crowle gave winning, polished performances as Fiorello and an officer. Men of the company’s chorus and humor and musical depth to the production, which was supported from the pit by members of the Milwaukee Symphony Orchestra.

If you go

Florentine Opera performs "The Barber of Seville" May 19 and 21 at the Marcus Performing Arts Center, 929 N. Water St. For tickets, visit florentineopera.org or call (414) 273-7206.

This article originally appeared on Milwaukee Journal Sentinel: Understudy steps up brilliantly in Florentine's 'Barber of Seville'