Richard Bernstein and Christine Brandes return from 1999 as a "below stairs" pair with humor and reasonable chemistry. Bernstein's somewhat rough bass-baritone suits Figaro well and he was in better voice than I've heard him muster here before. Brandes, supremely musical and dramatically resourceful, brings the clever Susanna an occasional touch of tonal asperity. Mary Dunleavy makes her first-ever Countess visually and vocally appealing—also moving, her lovely soft singing in "Dove sono" and the Letter Duet holding the audience at rapt attention. Welcome newcomer Simone Alberghini, dapper and ingratiating, unfurls a finely vocalized Count, with a native's pleasure in relishing and delivering Lorenzo da Ponte's text. Kirstin Chavez looks and acts winningly as Cherubino, but Mozart's music mercilessly exposes some deviations from pitch. Kevin Glavin's familiar, expert Bartolo fittingly teams with a fellow scene-stealer, Pittsburgh-based mezzo Myrna Paris' droll Marcellina. Unlike the Basilio character, these humorous pros do not attempt to upstage but rather complement their colleagues' teamwork.

Corrado Rovaris leads a swift show and certainly understands the flow of Mozart and da Ponte's creation. May 7 witnessed a few more orchestral glitches than Maestro Rovaris has accustomed us to of late; perhaps the players had a touch of spring fever? A fair bit of recitative is cut; it would be prudent also to cut—as most companies do—the surtitle at the Count's final "Contessa, perdono," where seeing the words in print makes the audience break in with laughter to drown out one of the most exquisite moments in all opera.

The Marriage of Figaro

Through May 21, Opera Company of Philadelphia, Academy of Music, Broad and Locust sts., 215-893-1999 or www.operaphilly.com