possible and developing it into full-fledged slander, which he describes in a tour-de-force of an aria. Bass Daniel Hague pulled all the naughtiness out of his music, wrapped in a deep, mellow lyric sound.

The count, disguised as the student Lindoro, is sung by tenor Matt Morgan. He handles a difficult part with ease.

The voice is handsome and bright, though he didn't have to work as hard as he did on the high notes.

The orchestra is slightly heavy at times, probably due to the acoustics in the hall, but we had no trouble hearing him.

Rosina, is sung close to flawlessly by Meredith Ziegler, who though a mezzo-soprano, sings the florid coloratura of her role with clarity, intelligence and a lovely sound throughout the range. She has a lot of fun besides.

The moment David Pershall as a brash Figaro walks on the stage to sing his famous aria, he has presence and backs it up with an outstanding baritone voice.

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His character is completely rounded-out and believeable and he sings the entire role with joy and ease, a delight to hear and watch. He never overdoes it, but the audience knows he is there and glad of it.

The production is simple and effective, and the stage direction by Alan Mann is very funny, shows theatrical sense, and includs some poignant moments that points up the comedy. He respects Rossini, and doesn't indulge in any inappropriate "concepts," for which I take my hat off to him.

The conductor, Kyle Swann, keeps things moving at a merry pace, and manages Rossini's complexities with authority.

This was only my second visit to Opera Theater of Connecticut, but along with everyone else, I had a great time, and hope to hear them again.