Scott Purcell will mark his fifth time performing in a production of "The Barber of Seville" on Friday in the Manship Theatre.
That's when Opera Louisiane opens its production of Gioachino Rossini's comedic opera. Don't let its 1816 premiere date deter you; Rossini's opera is funny.
The story revolves around a barber named Figaro, the same Figaro from Mozart's opera, "The Marriage of Figaro." In this story, Figaro must use all of his wits to outwit the devious Dr. Bartolo so Rossina and the young Count Almaviva can be together.
Hannah Ludwig, left, is Rossina, and Scott Purcell is Figaro in Opera Louisiane's production of 'The Barber of Seville.'
That's the simple synopsis, but a lot of bribery and deception fuel this story in between, creating a web of hilarity.
Adding to the chaos is Figaro, who Purcell will be playing. He hasn't played Figaro in all of his productions of "Barber," but he's been the main character in most of them.
The last time was in a recorded version Opera Louisiane posted online for streaming during the COVID-19 pandemic. That's when he decided to stay in Baton Rouge to work on his doctorate in voice at LSU.
Hannah Ludwig, left, is Rossina, and Scott Purcell is Figaro in Opera Louisiane's production of 'The Barber of Seville.'
He'll finish his degree this month and settle in Philadelphia with Hannah Ludwig, who plays Rossina. The couple will be opening their own vocal music school there.
But before that, Figaro must attend to the business of young love in "Barber," which is a first for stage director Paul Houghtaling. He's directed lots of operas, many at the University of Alabama in Tuscaloosa, where he's director of the school's Opera Theatre.
Hannah Ludwig, left, is Rossina, and Scott Purcell is Figaro in Opera Louisiane's production of 'The Barber of Seville.'
Yet he's never directed "Barber" until now.
"Its incredibly exciting," Houghtaling said. "This opera is special, and everybody keeps going back to it, because the story is timeless. It's the story of true love conquering all. It's also a brilliant comedy, an iconic piece with so many hit tunes that have transcended opera and transcended the stage on into popular culture through cartoons."
Watch enough episodes of "Bugs Bunny," and you'll run into the one where he conducts the opera baritone in "Barber" favorites.
Scott Purcell, left, is Figaro, and Hannah Ludwig is Rossina in Opera Louisiane's production of 'The Barber of Seville.'
"'Barber of Seville' is not only a beloved staple, but an important part of arts culture," Houghtaling said. "Again, it's not just through opera, but everybody knows these tunes. And everybody loves the story."
Though "Barber" has been stylized through the years — even staged in a futuristic space setting — Opera Louisiane is sticking to its traditional 19th century setting.
"Kathryn and I decided that we wanted to emphasize the story, and we wanted the characters and their lives to drive that story for the audience," Houghtaling said.
Hannah Ludwig, left, is Rossina, and Scott Purcell is Figaro in Opera Louisiane's production of 'The Barber of Seville.'
He refers to Opera Louisiane's General Director and CEO Kathryn Frady, who has been at the helm of the company's operations since June 2022. She's also a soprano and was a cast member in Opera Louisiane's "The Christmas Spider" in December.
But she's sitting out of this production as Purcell and Ludwig take the stage alongside Nicholas Simpson as the Count and Philip Lopez as Dr. Bartolo.
It's at this point where Ludwig begins to reminisce. This show will be the mezzo-soprano's third time singing the part of Rossina. She also was a member of Opera Louisiane's streaming "Barber" cast during COVID, but there's nothing like returning to the stage for this opera.
"This will be my first stage performance for it in Baton Rouge," she said. "Expect a lot of ornaments in the show."
Hannah Ludwig, left, is Rossina, and Scott Purcell is Figaro in Opera Louisiane's production of 'The Barber of Seville.'
Ornamentation in opera is the embellishment of a melody, either by adding notes or by modifying rhythms. Ludwig and Purcell worked with Will Crutchfield, one of the world's foremost musicologists working in "Barber's" bel canto genre of opera, in developing the ornaments.
"There are times when an opera company will just perform what's in the score, but we've added the ornaments," Ludwig said. "And it's going to be fun."
Now, for prospective audience members worried about the opera's Italian score, English subtitles will be provided. The production also will be accompanied by a live orchestra.
"So, come out, and enjoy 'The Barber of Seville,'" Houghtaling said. "It's going to be fun."
Opera Louisiane's "The Barber of Seville"
7:30 p.m. Friday and 3 p.m. Sunday
Manship Theatre, 100 Lafayette St.
$25-$100