Daniel Webster

Due to budget constraints, the new watchword at the Opera Company of Philadelphia is “conservative.” That’s a blessing for some operas— like this Mozart masterpiece— that simply need to be held up to the light.

The Marriage of Figaro. By Mozart; Opera Company of Philadelphia production directed by Robert Driver, conducted by Corrado Rovaris. May 5-21, 2006, at Academy of Music, (215) 893-3600 or www.operaphilly.com.

Britten's serio-comic work blossoms when presented with the care that Curtis musicians manage to wrap and deliver their performances.

Albert Herring. By Benjamin Britten, directed by Chas Rader-Shieber. Curtis Opera Theatre production at Prince Music Theater, April 14-15, 2006. www.curtis.edu/html/50300.shtml#3

A powerful, brutal tale of slavery undermined by underwhelming music. Concurring critic Dan Rottenberg finds fault with Toni Morrison's libretto as well.

Margaret Garner. Opera composed by Richard Danielpour; libretto by Toni Morrison. Stefan lano, conductor; Kenny Leon, director. Opera Co. of Philadelphia production at Academy of Music through Feb. 26, 2006. www.operaphilly.com.

An opera critic looks back, considers the subjectivity of his fellow critics and wonders whether the good old days were really all that good.

Die Zauberflote (The Magic Flute), by Mozart; directed by Emma Griffin for Curtis Opera Theater, Nov. 18-20 at Prince Theater.

Il Barbiere di Seviglia, by Rossini, directed by Robert Driver. Opera Company of Philadelphia, Nov. 5-20, 2005 at Academy of Music.

The strange new ingredient in 21st-Century opera: self-doubt.

Stravinsky’s ‘L’Histoire du Soldat’ Suite and other works, performed by Chamber Orchestra of Philadelphia, Dec. 4 at Perelman Theater.