UNION GETS BETTER WITH TIME.

Byline: David Mermelstein Correspondent

You can't begrudge L.A. Opera for revisiting its successes, especially when the production in question is Peter Hall's staging of Mozart's ``The Marriage of Figaro,'' which debuted at the Dorothy Chandler Pavilion in 1990 and returned for the fourth time Tuesday night.

The production has aged reasonably well, some visible wear notwithstanding. More important, Hall's cogent vision, now entrusted to director Thor Steingraber, seems to inspire singers, perhaps because it adheres so faithfully to the opera buffa Mozart and Lorenzo da Ponte crafted.

Bass-baritone Richard Bernstein, as Figaro, stands at the center of things here. He doesn't cast the giant shadow Bryn Terfel does in this part but nonetheless serves as an anchor. Figaro has become something of a signature role for Bernstein, a company stalwart, and he is growing in it. As an actor, Bernstein has become more secure, less showy. As a singer, his bottom notes have fullness; his top notes, color. Only his mid-range causes him occasional trouble, sounding slightly patchy at times.

Spanish soprano Maria Bayo (a recent Grammy nominee) makes her company debut in ``Figaro.'' She is a welcome addition. There is power and precision in her voice, but also a piercing beauty. A feisty stage presence, she proves a characterful, earthy Susanna.

This production's Count and Countess Almaviva are also company debutants. As the Countess, soprano Pamela Armstrong brings dignity and humanity to her role. She is rightly this opera's moral center, and in her two big arias, Armstrong sings with a sun-kissed radiance that only amplifies their impact. Indeed, her poised and heartbreaking ``Dove sono'' will surely be recalled as one of the highlights of the season. (Emily Pulley will replace her beginning Jan. 30.)

Baritone Claudio Otelli's Count presents more of a problem. Though his acting is the equal of his colleagues, his small voice frequently sounds weak and constrained. And when his tone does swell, it grows progressively more gruff, too. (John Atkins will assume this role Feb. 1.)

Mezzo-soprano Megan Day-Toth also disappoints. In the trouser role of Cherubino, she proves unconvincing, singing blandly. Yet two other L.A. Opera regulars turn comprimario roles into near-star turns. Bass-baritone Jamie Offenbach and mezzo Cynthia Jansen find characterization, not caricature, in Dr. Bartolo and Marcellina, respectively. And how nice to see these roles sung by vigorous, not superannuated, figures.

In the pit, conductor Marco Guidarini, in his first appearance with the company, lends briskness to the proceedings.

``THE MARRIAGE OF FIGARO''

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

When: 7:30 tonight and Jan. 21, 24, 26, 30 and Feb. 1; matinee 2 p.m. Feb. 3

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

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As the lead character in L.A. Opera's ``The Marriage of Figaro,'' Richard Bernstein anchors the role with his bass-baritone voice.