Leon Krasenstein is likely to become a household name in set and costume design if his latest work with Opera Australia is anything to go by.

When celebrity conductor Richard Bonynge says he’s ‘very positive about Leon’s work and can’t wait to work with him again’ you know that he’s on the right track.

Leon is modest about his achievements though when I caught up with him at Opera Australia’s opening night of ‘The Barber of Seville’ to discuss his jaw dropping Gaudi inspired set he was enthusiastic and animated about his art form.

Noticing certain painting techniques such as echoing colours of larger objects in the smaller tiles on the walls and floor I was prompted to ask Leon if he had a background in oil painting.

‘Not really but I doodle a lot. Architecture has been my main interest. People such as Hundertwasser (a contemporary of Gaudi), his surreal buildings in Vienna with their bold colours and ‘out there’ designs do it for me.’

Architect, Antonio Gaudi, was born in Reus, Spain in 1852 and is famous for the surreal design style and warped form of Gothic architecture that is seen in many buildings in Barcelona.

Leon’s set is also bold and ‘out there’ with huge totem pole like structures (not seen here in the photos) either side of the stage.

Wavy curvy structures abound. I don’t think there’s a single straight line to be seen.

Henry Choo (Count Almaviva) serenades Amelia Ferrugia (Rosina) accompanied by Jose Carbo (Figaro) on guitar.
[Photos by Jeff Busby and courtesy Opera Australia]

And his piano just begs to be played by Thelonious Monk!

In this offering of ’Barber’, as it affectionately known to those in the scene, both the set and costumes are designed by Leon.

A scene from Opera Australia's 'The Barber of Seville'.
[Photos by Jeff Busby and courtesy Opera Australia]

He likes it that way because it unifies the show creating a link between set and costume.

Not only visually but also in other subtle ways.

The brass pig’s eye in the Salvador Dali look-alike’s button is a small detail not necessarily noticed by the audience. It does however help the actor/singer immerse him self completely in the character.

(Anybody who knows anything about Dali will grasp the significance of the pig’s eye).

Ever wanted to know ‘who’s on with whom,’ or ‘who’s doing what to whom’?

Then a visit to the barber (or hairdresser) is the place to find out.

In a nutshell, this is the story of ‘The Barber of Seville’!

It’s entertaining and fun.

And oh yes, the music’s not bad either.

It’s on at the Sydney Opera House till 30 th August.

To find out more visit www.opera-australia.org.au for details.