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Though performances of "Il Barbiere di Siviglia" are hardly a rarity, it is refreshing to be able to report that the Met's initial one of the season (Dec. 22) was first-rate, with an ensemble that played the comedy with freshness, assurance and timing. From the [first] phrases of the overture, conductor Carlo Rizzi showed concern for taut musical pacing, as well as for the clarity and color of Rossini's orchestration, buoyantly supporting the singers with flexibility of tempo.

As Almaviva, Frank Lopardo displayed genuine presence and a comic gift that made his characterization believably romantic without being sappy, though his vocal production remains curious - ravishingly sweet in soft passages that carry well into the house, often throaty in midrange. He seemed to switch gears disconcertingly from one note to another, often blasting his phrase attacks and singing sharp in the upper register. Nevertheless, his passagework sounded convincing.

Thomas Hampson, wearing a swallow-tail coat suggestive more of Dulcamara than of Figaro, played the title role with a beguiling, hilarious sense of spontaneous improvisation. Ruth Ann Swenson's Rosina was another plum. Though she gave unstintingly of high notes, befitting a soprano leggiero approach, at the culmination of "Una voce poco fa" and "Contra un cor," her rich, full low register lent persuasive weight and emotion and depth to her characterization of a Rosina to contend with, not to mention a beautiful one.

Jan-Hendrik Rootering's hulking Basilio was a far cry from the traditional emaciated figure, but he looked appropriately threadbare and slovenly, while his rather hooting timbre struck the right sepulchral note in "La calunnia." With hands as expressive as his voice and face, Enzo Dara, delivering magnificent patter, provided a nimble, light-footed Bartolo, almost graceful in his priggishness.

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