Cast members perform in “The Barber of Seville,” which was staged June 20 and 22 in Bend. (Submitted photo)

OperaBend’s opening night performance of Gioachino Rossini’s “The Barber of Seville” Directed by Zachary Lenox and superbly performed by all, was fun and soul-satisfying.  Everyone — audience, orchestra and cast, seemed to enjoy this rollicking comedic opera.

Disclosure — yes, I am on the board of OperaBend. I am “retired” from a 50-year career in voice, including performance across the U.S. and Europe with major opera companies and orchestras. And now I get to help here and there.

“The Barber of Seville” is one of the great comic operas and is based on Beaumarchais’s play of the same name set in the 1700s. Director Zachary Lenox set his show in and around “Dr. Bartolo’s Bar & Boarding House” in modern-day Spain. The cast and chorus executed Lenox’s intricate and very entertaining directions with aplomb. They worked very well together with energy and mischievous spirit.

Tenor Jason Stein sang the crucial comedic role of Dr. Bartolo. Stein and his wife co-founded OperaBend in 2013, and he continued as executive director. Over 11 years he produced, directed and performed in excellent productions such as “La Traviata,” “Pagliacci,” “Carmen,” “La Boheme” and “The Magic Flute.” Now, he was allowed to concentrate solely on performing a lead role while Lenox directed and took on the many myriad details of producing an opera.

Stein’s resonant and flexible tenor handled Bartolo’s famous patter song, “A un dottor dell amia sorte” with ease — firing off some high c’s at the end for good measure. His acting and commitment as the central character helped to cement the cast.

Here I give a special tribute to Bend’s beloved Michael Gesme, Music Director and Conductor of the Central Oregon Symphony, who has supported Stein and OperaBend for years. Maestro Gesme conducted the orchestra and cast through a tricky Rossini score with exceptional professional surety and joyful musicality. The orchestra’s spirited and dynamic playing of the prelude created an atmosphere of anticipation.

Rossini is renowned for his contributions to bel canto opera, a style of operatic singing and period of Italian opera that emphasized vocal technique and beautiful melodies. His works, along with those of Donizetti and Bellini, demand singers that can handle the fiery coloratura and range. OperaBend hired a cast that could do it all.

Zachary Martin as Fiorello was crucial as he immediately engaged the audience with a powerful baritone and strong comedic antics, setting the pace and professionalism for the evening. Adrian Rosales as Figaro made his entrance in the middle of the audience with the famous “Largo al factotum”-sung with good-natured virility and a powerful baritone. Lyric Tenor Benjamin Boskoff, with a sound reminiscent of a young Caruso, sang the very difficult virtuosic arpeggios with boyish enthusiasm, and revealed warm and tender tones in “Ecco,ridente in Cielo”, accompanied by compelling guitarist Brogan Woodburn. Lovely and graceful mezzo-soprano Grace Skinner held the audience captive with elegant expressiveness and an angelic virtuosity.

As Basilio, lyric baritone Darrell J. Jordan’s energy was catching, coupled with a large velvety voice and slapstick mastery. Berta’s Act II “Il vecchiotto cerca moglie,” sung by brilliant soprano Jocelyn Claire Thomas, was accented by an athletic “split” at the cadence. Kudos also goes to the masterful harpsichordist and rehearsal pianist Claire Forstman. Wonderfully funny as Clara the bar’s house keyboardist, she would suddenly appear to play all the recitatives. Stage Manager Kelly Pence, Lighting Designer KC Crandal, and Costume Designer Dora Novak brought their talents to the creation of a superb production.

We need music and laughter more than ever in this world. I applaud Jason Stein, Zachary Lenox, Jocelyn Claire Thomas, Michael Gesme, the orchestra, and cast, chorus, and creative team for building a masterpiece that soothes our ears and souls with beauty and laughter.

OperaBend is also thrilled to “un-mask” its 2025-26 season, a dynamic lineup celebrating the full spectrum of vocal artistry and theatrical flair. The season opens with their Bend Singer Showcase: a joyous evening spotlighting Central Oregon’s finest vocal talent across a variety of styles and genres.

Next, “High Desert Melodies” brings voices of the next generation to the forefront, in a concert featuring promising young artists, offering audiences a glimpse into the future of opera. In a special collaboration, OperaBend will host Ping & Woof Opera’s haunting and intimate production of Gian Carlo Menotti’s “The Medium,” a gripping psychological thriller filled with eerie beauty and emotional depth. OperaBend’s 2025-26 season culminates in grand fashion with a sparkling MainStage finale: Johann Strauss Jr.’s effervescent operetta, Die Fledermaus. With its swirling waltzes, mistaken identities, and champagne-soaked comedy, this beloved masterpiece promises an evening of dazzling music and undeniable fun.

Don’t miss a season that dances between tradition and innovation, showcasing the vibrant spirit of opera in Bend. If you would like to get involved with OperaBend, more information can be found at operabend.org, and donations are always welcome to help support future musical offerings.

Jacalyn Kreitzer is a retired opera singer who lives in Bend and serves on the OperaBend board.