Opera de Montreal.

Cost-conscious Opera de Montreal has been billing revivals as "heritage" productions lately, which might sound like a euphemism for "old." But the 1976 Robert Prevost staging of II barbiere di Siviglia unveiled Feb. 2 looked remarkably fresh as updated by Guy Neveu and illuminated, brilliantly, by Anne-Catherine Simard-Deraspe. The idea of opening Bartolo's residence like a dollhouse in Act II remains inspired.

Indeed, it might be said that the heritage decor was the most positive element of the presentation. Director Alain Gauthier arranged the duets clearly and nicely synchronized the serenaders and soldiers. Alas, almost everyone carried a fan and used it for comic delineation--a motif that became tiresome by intermission.

Aaron St. Clair Nicholson, a trim and bright-toned Canadian baritone, led the cast as Figaro. What his famous entry aria lacked in physical athleticism--he was pushing around a barber's cart--he made up for in crystalline patter. He played his own guitar, a cute bonus. As the Count, Montreal tenor Frederic Antoun had intonation problems in his first serenade, but soon blossomed into a handsome leading man. Mezzo Julie Boulianne was a charming Rosina, even if her "Una voce poco fa" was more a display of technical expertise than an expression of waspish personality. She sang the aria mostly from her upstairs bedroom, rather than from the apron of Salle Wilfrid Pelletier, where voices carry better. Italian bass Donato di Stefano was amusingly hot headed as Bartolo. Stephen Morscheck, an American bass-baritone, was only moderately droll as Basilio. Jacques Lacombe led the Montreal Symphony Orchestra (luxury casting for Rossini) through a clean-as-a-whistle performance.

PHOTO: CYLLA VON TIEDEMANN