The only one on set who is slicker and trickier than Figaro is Rosina, played here with wit and grace by Joylyn Rushing.  In some ways Rossini and his librettist (Cesare Sterbini) are sure to keep Rosina within the confines of a solid patriarchy, trapped under the prison of Dr. Bartolo only to be released into the loving (but one imagines still domineering) hands of Bartolo’s social superior, the Count of Almaviva. But Rushing makes sure to show off Rosina’s strength. She plays the role with such confidence and forwardness so that we know anything Rosina gives, she gives knowingly.

Rushing’s interpretation of the showpiece  “Una voce poco fa” was a little too speedy at certain points, but from the very start it was clear that she has real star potential. Her voice is warm and plush in the middle and demonstrates  flexibility up and down her range with sweetness on top and gravitas at the bottom. She is a powerful stage presence. Especially in Act two, she conveyed ownership of the plot and her surroundings. She almost slithered with commanding grace until she got what she wanted.