A BALANCED RELATIONSHIP L.A. OPERA MARRIES HUMOR WITH POLITICS IN `FIGARO'.

Byline: John Farrell Correspondent

A new millennium brings with it many new ideas, and, for those who prefer the more ancient pleasures, a revival of one of Mozart's greatest operas.

Los Angeles Opera opens its second thousand years (well, to be honest, the company is barely more than a decade old, but you have to take advantage of dates when given the chance) with a revival of the company's much praised ``Le Nozze di Figaro'' eight performances beginning Tuesday at the Dorothy Chandler Pavilion of the Los Angeles Music Center.

``The Marriage of Figaro'' (the opera's English title) is a perfect beginning for a new century and a new millennium, because the libretto, based on the play by Beaumarchais, was in the 18th century a vision of a new world, one where servants and masters were equal, where nobility did not confer either privilege or intelligence, and where liberty was on the horizon.

But don't let the political baggage frighten you: ``Marriage of Figaro'' is one of the funniest operas around, a four-act romp through the machinations of a wily young man, Figaro, about to be married to his Susanna, but facing the intentions of an amorous nobleman, his master the Count Almaviva, and the nuptial intentions of an old lady who thinks Figaro must marry her to settle a debt.

All of this comic action is set to perhaps the finest vocal music Mozart ever wrote. His intense understanding of the emotions of each character, from noble count to servant maid, and his extraordinary ability to express different emotions with the same music, are in evidence here as nowhere else. Lorenzo da Ponte, who wrote the libretto (and also collaborated with Mozart on ``Cosi Fan Tutti'' and ``Don Giovanni'') pared down the Beaumarchais play but still kept all its humor and point intact, including surprise endings for each of the works' four acts.

The first thing that ``Figaro'' requires, of course, is a singing actor capable of carrying the title role, one of the best-known in opera. Baritone Richard Bernstein, who has made Figaro one of his signature roles, will star in this production. Bernstein is a familiar face at Los Angeles Opera. This is the 22nd role he will perform with the company. Maria Bayo, who recently performed at the Salzburg Festival, will sing the role of Susanna. Pamela Armstrong and Emily Pulley will share the role of Countess Almaviva. Claudio Otelli will make his company debut as the count, sharing the role with John Atkins. Resident artist Cynthia Jansen will perform the role of Marcellina, with former resident artists Megan Dey-Toth as Cherubino and Jamie Offenbach as Dr. Bartolo. Jonathan Mack will sing the role of Basilio.

This production, conceived by the legendary British theater director Sir Peter Hall, was originally created for the Lyric Opera of Chicago and will be conducted by Thor Steingraber, who recently conducted the company's critically acclaimed production of Rossini's ``La Cenerentola.''

``LE NOZZE DI FIGARO''

What: Los Angeles Opera's production of Mozart's opera.

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles.

When: 7:30 tonight, Thursday, Sunday, Jan. 24, 26, 30 and Feb. 1; 1 p.m. Feb. 3.

Tickets: $28 to $148. Call [phone].

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Baritone Richard Bernstein stars in ``Le Nozze di Figaro'' at the Dorothy Chandler Pavilion.