The Metropolitan Opera is enjoying a sparkling revival of its three-year-old, Bartlett Sher production of Gioachino Rossini's effervescent comedy "Il Barbiere di Siviglia," designed by Michael Yeargan (sets), Catherine Zuber (costumes) and Christopher Akerlind (lighting), and currently directed by Kathleen Smith Belcher. I caught up with "Barbiere" on October 14, at the fourth of the season's dozen performances, on the night after a particularly discouraging account of the company's new "Tosca." What a contrast. What a difference a day indeed makes!

Baritone Rodion Pogossov, a graduate of the Met's Lindemann Young Artist Development Program, who made his debut in the supporting role of Fiorello in this opera, has been newly promoted to the protagonist's part of Figaro, the titular barber of Seville. Pogossov breezed through the challenges of "Largo al factotum," making an impression in the high-lying, fast-paced entrance aria, despite the distractions of Figaro's crowd of customers and admirers-and a live burro-with which Figaros of earlier generations did not have to contend. (There's a bit of lesbian content toward the end of the first scene, as two of these hangers-on are discovered locked in intimate embrace in Figaro's mobile shop.)

Returning to the role of Rosina, which she sang here in 2007, charming coloratura mezzo-soprano Joyce DiDonato again dazzled in showpieces "Una voce poco fa" and "Contro un cor," both of which she embellished with ascending and descending runs, trills, and high pianissimi, her tone as bell-like, in her timbre, as soprano Beverly Sills' was, in her own. Pogossov and DiDonato's "Dunque io son" was as happy a highlight as one hoped, as he, singing the melody, proved a fitting foil to her, as she embroidered upon it.

Tenor Barry Banks, the new Count Almaviva, made much of the two early serenades, "Ecco, ridente in cielo" and the subsequent "Se il mio nome," enhancing them with high interpolations and other elements in his bel canto arsenal. Banks' "Cessa di più resistere," the 11 o'clock number, the cabaletta of which, "Ah, il più lieto" shares a melody with Cenerentola's "Non più mesta," boasted fireworks aplenty. Pogossov, DiDonato and Banks' trios near the end of the opera were every bit as ebullient as they should be.

John Del Carlo, as a pompous Dr. Bartolo, Rosina's guardian and would-be spouse, pattered and scolded up a storm in "A un dottor della mia sorte." Orlin Anastassov, sleazy and greasy as his crony, Don Basilio, proved unfazed by the high-lying patter of "La calunnia." Playing Bartolo's hapless servants were, as Ambrogio, Rob Besserer, and as Berta, excellent soprano Claudia Waite, who made the most of her aria di sorbetto, "Il vecchiotto cerca moglie." The company, guided by conductor Maurizio Benini, collaborated on a spirited first act finale, capped here by the descent of a giant anvil from on high, smashing a cart full of pumpkins, as an apt reflection of the state of confusion in which the characters find themselves. Edward Parks, as Fiorello, and Mark Schowalter, as the Sergeant completed the cast.

Repetitions of "Il Barbiere di Siviglia" are slated for October 24 at 8:30 p.m., 27 at 8 p.m., 31 at 1 p.m., November 4 at 8 p.m., 7 at 8:30 p.m., and February 26, March 1 and 4, 2010 at 8 p.m. From October 31 through November 7, Franco Vassallo and Roberto Scandiuzzi replace Pogossov and Anastassov. In the 2010 performances Diana Damrau, Lawrence Brownlee and Samuel Ramey return to the roles of Rosina, Almaviva and Basilio. Vassallo continues as Figaro, Maurizio Muraro plays Bartolo, and John Moore replaces Parks.

For tickets, priced from $15 to 375, telephone 212/362-6000, visit www.metopera.org, or go the Met box office at Lincoln Center.