Welcome to a two hundred year old story whose parameters haven’t changed at all in the course of human existence. All’s fair in love in war holds fast and true in all historical accounts and remains in perpetual motion in opera. What a magical performance given to us by The Met and presented to us through the Collins Center for the Arts on a massive screen as large as the personalities that appear on them. In this little tale of the overwhelming matters of the heart, our dear Count Almaviva has been desperately bitten by the charms of the lovely Rosina and will apparently do whatever is necessary to win her affections and pry her away from her impossibly overprotective (and coveting) guardian Bartolo (who has emotional intentions of his own toward this lovely woman). The conversion of thought as to what the best course of action would be is implemented by employing our quite confident and dripping with self admiration, Don Basilio as an accomplice in crime with his unending madcap antics. However, the inversion of plans causes quite the kerfuffle in the lives of all involved. Thus…the opera. The diversion(s) are without shame, conscience, but with cause for alarm when it appears that they seem to dwindle in merit. Alas, deception holds a dear and true place within the parameters of the opera with a healthy dose of manipulation and adoration for the chase. As in a comedic opera, things do find way of working themselves out and after bribes of gold, being trapped without a ladder (or a backup plan), and the plan in its entirety may foil, this floating asylum of a household places the right people within their proper arms as only love can prevail (with the help of one good old barber and his zest for good and gold). A wonderfully well-rounded hailstorm of emotional entanglements unleashed in a not so simple story with a happy ending. Support opera at the Collins Center for the Arts, for the only truest tragedy would be if it were gone.