Joan Font’s Enchanting Vision for The Barber of Seville

Text: Véronique Gauthier

Photos: Michael Cooper (cover) et Thibault Carron (rehearsals)

The Salle Wilfrid-Pelletier still remembers the colors and enchantment that graced its stage during the 2017 production of Rossini’s La Cenerentola. Now, by presenting The Barber of Seville by the same composer, the Opéra de Montréal is about to offer its audience another fantastical creation by Joan Font, a director who has mastered the art of wonder. Get ready to fully immerse your senses—listen, watch, and feel with your heart!

Resistance Through Pleasure

Born in a small town in Catalonia, Joan Font has been immersed in art and theater from a very young age. "I was already on stage in my mother’s womb!" His family, fond of popular theater festivals and music, was present at every cultural celebration, cultivating the art of happiness. It was in this fertile environment that the artist founded the troupe Els Comediants, with whom he has toured across five continents for the past 50 years, participating in major events such as the Avignon Festival, the Shanghai World Expo, and the Barcelona Olympics, where he had the honor of directing the closing ceremony.

Founded during Franco's regime, the troupe distinguished itself with colorful performances, an impressive visual dimension, an authentic and unique theatrical language... and its occupation of the streets. "Art is political. I went to the police station every day," the artist recalls. "We offered the public an alternative theater where pleasure was at the heart of our performances. We let ourselves be carried outside the walls, and the public began to defend this street space with us."

To this day, Joan Font stands firm in his convictions, advocating for a popular and festive art where laughter and wonder are present, both on stage and in the audience.

From Street Theater to Opera

In the same spirit, the prolific artist approaches opera, giving comedy a prominent place. "Laughter is very good for humanity!" he affirms. After directing The Magic Flute in 1999, he turned to Rossini, staging a triptych that includes the operas La Cenerentola and The Barber of Seville. It should come as no surprise that both works share the same aesthetic, inspired by Mediterranean colors. "People who saw La Cenerentola won’t be disoriented! It’s like a painter whose style you can recognize from one painting to the next."

In The Barber of Seville, the director’s approach remains highly theatrical. "With Joan Guillen [who designed the sets and costumes], we spent hours discussing each of the characters and sketching masks for them. These masks don’t appear on stage, but we showed the drawings to the artists to present our vision of their character." In a popular art approach, certain character traits are exaggerated and highlighted, allowing the audience to take pleasure in recognizing themselves, much like looking into funhouse mirrors that reflect a distorted version of ourselves.

The physicality demanded of the singers is intense, with every glance and action carrying weight. "It’s a show that’s almost like a dance. Everyone is very active, and every detail is woven around the music, which remains the guiding thread of the story."

Symbolism and Surrealism

The story takes place in southern Spain, and the uniqueness of the region’s culture serves as a great source of inspiration for the creator. "There’s something very surreal about the south of Spain, with its heat and the pace at which time passes."

While the story itself remains concrete, everything surrounding it, from the set design to the use of the stage, delves into dreamlike surrealism. Throughout the opera, the director plays with proportions and the use of various elements, such as a key, a chair, or a letter. "A kind of distortion of reality that highlights symbolism, like power or freedom. I have a lot of fun with symbols."

A Call to Wonder

The contagious camaraderie emanating from the stage is no accident, as for Joan Font, pleasure must first take place on stage before it can reach the audience’s heart. "The most important thing is the show, but before the show, it’s the people. Everyone must be happy to be there because if we aren’t having fun, it’s impossible to pass that on!"

You might catch yourself letting out a few "ohs" and "ahs" as the scene comes to life before you. In these fragile times, there's something uplifting about finding joy and wonder, a purpose the director embraces wholeheartedly. "The show is filled with sensory pleasures—music, voice, beauty, emotion, colors, and the 'wow' factor. One thing I’d love for the audience to take away when they leave is that they laughed wholeheartedly!"

To join the celebration, get your tickets here!!