here. The MSM gave it in an efficient semi-staging. While I was (predictably) intrigued by the psychological trauma and the patriarchal oppression, the overall approach emphasized the charm of the piece... which does, after all, have a chorus of peasants and the subtitle commedia. There's a lot more than that in there, though; see section II of this piece by Diane Hoeveler, and note that this episode of a count's social prejudices wreaking havoc had its premiere in 1789. Anyway: the chorus of peasants, called upon to dance merrily, did so, in addition to singing as sympathetically as any afflicted protagonist could wish. The dialogs were given in English, although the opera was sung in Italian. There were a few moments where an echo lost some drama through translation, or impassioned outbursts sounded, well, just a little silly, but on the whole, this bothered me far less than I thought it might. The audience seemed quite engaged, saying "aww" at all the right moments. I'm not going to give a detailed musical critique; the overall level was high enough that I enjoyed myself. David Charles Tay was a very pleasing Lindoro, with sweet, expressive singing and plenty of youthful ardor. The real standout for me, though, was soprano Ilana Goldberg, who sang Susanna, Nina's loyal confidante. She had remarkably sweet, secure sound, and gave, I thought, a beautifully integrated performance, entering into the work's emotion while avoiding overstatement. All in all, I was very pleased with my night out, and my experience of Paisiello; Nina's charming melodies and more-thoughtful-than-it-first-appears plot would seem to well justify his erstwhile fame.