MILAN

Auber's Fra Diavolo is one of those operas that poke gentle fun at their own conventions and convictions, and Jérôme Savary's inventive staging at La Scala (the first there since 1934) admirably matched the spirit of the work. He exploited the comic potential of the Act II bedroom scene and made imaginative use of Jacques Schmidt's colorful sets. The longer, Italian version of the score was used, and the cast (on Jan. 18) was a good one, though slightly lacking in the vocal and theatrical charisma necessary to project a work such as this, originally conceived for the small Opéra Comique, in the larger La Scala.

Luciana Serra (Zerlina) seemed the best equipped in this sense, though the pleasure afforded by her soprano fireworks and sure comic timing was slightly offset by occasionally shrill high notes. Giuseppe Sabbatini's Fra Diavolo, supremely elegant of phrase, lacked swagger, and his diction was poor (perhaps Maggioni's translation is partly to blame). Marta Senn's Pamela proved vocally unmemorable and too grotesque to be amusing, while Francesco Piccoli made an insecure Lorenzo. More convincing were Alessandro Corbelli's Lord Rocburg, Luigi Roni's Host and especially Sergio Bertocchi's Beppo, a splendid comic portrayal. After an unsmiling overture, Bruno Campanella conducted well, keeping textures light and tempos supple.

- STEPHEN HASTINGS