Il Signor Bruschino may serve as the perfect initiation into opera appreciation, for all those who have heretofore been too intimidated by the medium. The combination of Gioachino Rossini's engaging music, librettist Giuseppe Maria Foppa's hilarity, and Donald Eastman's versatile 1960s scenery creates a buoyant atmosphere, while Robin Guarino's poignant directing, the unquantifiable talent of the entire cast, and the intimate feel of the Harry de jur Playhouse make Bruschino an experience that should be roundly enjoyed by opera novices and aficionados alike.

Gotham Chamber Opera's revival of the 80-minute farce, which premiered at the Teatro Moisé in Venice in 1813, is the first in the United States since the Metropolitan Opera'sproduction in 1932. Gotham proves that Rossini's hilarious work is indeed timeless by setting the opera in what it calls "the sexy and stylish world of Rome's Via Veneto circa 1960." This innovative setting includes timely costumes designed by Martin Pakledinaz and well-chosen props, such as a sky-blue Vespa.

Rossini explores the comedic possibilities of confused identities and arranged marriages through the genre of opera. Lovers Sofia and Floreville are dismayed when Sofia's guardian, Gaudenzio, enemy of Floreville's deceased father, promises her to the son of Bruschino. Floreville impersonates Sofia's intended husband and convinces everyone that he really is Bruschino's son-everyone, that is, except Bruschino himself.

Although tricky and tongue-twisting, the music of Il Signor Bruschino presented no vocal glitches to the fabulously trained cast. On the contrary, they showed incredible proficiency in handling Rossini's difficult score.

Tenor Alek Shrader's winning portrayal of Floreville is sure to indulge the sympathies of any audience. His diction and vibrato contributed to the gestalt of the cast.

Ingenue Lisa Hopkins brought Sofia to life with beautiful singing and operatic temper tantrums. Hopkins, famous for her role as Mimi in Baz Luhrmann's production of La Bohème on Broadway, has been training since she was two years old. "There was a point when I was seriously considering pursuing a medical career ... but then I realized I just had to sing," she said, following the performance.

Marco Nistico, one of two Italians of the cast, stole the show as Bruschino. The Naples, Italy native captured the gestures and movements of a man on the edge of sanity, burdened with utter confusion. He also conquered the role most laden with vocal acrobatics, some of which he performed while lying down. Nistico was no Rossini neophyte, having established himself in the title role of The Barber of Seville in Mexico and Amsterdam.

Bass Eric Jordan also stood out as Gaudenzio. Jordan's deep, booming, resonant voice showed itself especially during his smooth rendering of strands of the staccato recitative.

Matthew Lau sang smoothly for Filliberto, the sleazy bartender who sings repeatedly, "Money and all is beautiful, and it is fixed." Mezzo-soprano Emily Langford Johnson used her rich and thick voice to portray the flirty maid Marianna. Tenor Michael Kelly portrayed the gangly, drunken Bruschino Figlio with conviction.

"We all said, every day, that we had fun at work," Guarino said. And it showed. Gotham Chamber Opera deserves many thanks for making this highly enjoyable opera more accessible to a general audience.