During the first week of April, students in the Manhattan School of Music (MSM) Senior Opera Theater, guided by conductor Jorge Parodi and Artistic Director, and director, Dona D. Vaughn, probed a rare pastoral gem by George Frideric Handel, his seventh opera, "Il Pastor Fido" (The Faithful Shepherd, 1712, revised 1734), and in the high-level cast for the short opera semiseria, excelling in singing and in dance, devised by choreographer Denise DiRenzo, there were two particularly promising standouts in leading roles and one in a supporting role. Principal parts were double-cast for the four-performance, April 1 to 4 run, and I heard the first night's cast, which would sing again on April 3. "Il Pastor Fido" was given in MSM's Ades Performance Space.

Sadness has long reigned in idyllic Arcadia, realm of nymphs and shepherds, as the goddess Diana, the huntress, has demanded an annual human sacrifice, the suffering to cease only with the marriage of the perfect pair, of divine descent, and one of them the "pastor fido." The nymph Amarilli (soprano Adele Wilson) and shepherd Silvio (tenor John Myers) are the savior couple-elect, but Silvio exults more in the hunt than in love and Diana (soprano Gabrielle Mirabella)-who sings only at the end, but whom Vaughn knowingly keeps onstage for most of the evening, controlling matters as she sees fit-has other plans. Enter Mirtillo (mezzo-soprano Marta Wryk), who loves Amarilli; Dorinda (light mezzo-soprano Kate McNamara), hopelessly enamored of Silvio, who shoots an arrow at her, mistaking her movement for that of a wild beast in the brush, and wounds her before he finds that he's fallen for her; and Eurilla (soprano Jessi Goebel), who plots tirelessly to frame Amarilli as unchaste, which will result in Amarilli's execution, and rival out of the way, to have Mirtillo to herself. Out of her black top and leather pants and into more traditional goddess garb, Diana, assisted by her high priest, Tirenio (baritone Jason Cox), intervenes to set things right, sparing Amarilli and uniting her with Mirtillo-the faithful shepherd, of the heavenly race-and pairing Eurilla and Silvio.

There is a prevailing gentleness to music of Mirtillo, whether lamenting or happily contemplating his love, and to this, young Polish mezzo Wryk brought a clear sound and assured presence. Wryk proved radiant, as well, when unleashing unbridled joy, reveling in love for Amarilli and unaware he is being led into a trap set by the scheming Eurilla. Wilson lavished dark, creamy tone on Amarilli's aria, comparing her turmoil to that of a ship caught in turbulent waters, and rose to the occasion presented by a rather grand 'woman scorned' solo, when she thinks, thanks to Eurilla again, that Mirtillo has betrayed her. Look for good things to come from both Wryk and Wilson.

In his brief solo turn as Tirenio, near the end of the opera, Cox disclosed an imposing, flexible instrument. Soprano Sarah Beaty, as a shepherdess, completed the slate of soloists. The chorus, an ensemble of soloists, portrayed in song and dance, mostly at the ends of the three acts, birds and hunters; sheep, shepherd, and herding dogs; and citizens of Arcadia, rejoicing at the happy resolution.

At this writing, hearings of "Il Pastor Fido" on April 2 and 3 at 7:30 p.m. and 4 at 2:30 p.m. remain. Admission is $5. For information, visit www.msmnyc.edu or call 917/493-4428. The Manhattan School is located at 120 Claremont Avenue/122nd Street and Broadway. On April 28 and 30 at 7:30 p.m. and May 2 at 2:30 p.m., the MSM Opera Theater will give Wolfgang Amadeus Mozart's "Le Nozze di Figaro" in the Borden Auditorium. Tickets are $20, or $12 for seniors and students.