Wolfgang Amadeus Mozart: Don Giovanni
Listen to the ladies. One of the most amazing aspects of this colossal masterpiece, arguably the greatest opera ever written, is the way Mozart handles the female roles. On the face of it, this is a morality story of an egomaniacal bully, but that is basically yet another retread of the trite Don Juan legend. The subtle theatrical and emotional manipulations that Mozart and his librettist Lorenzo da Ponte achieve with the female characters, all revealed in their ambivalent, sexually charged interactions with the title character, are what light up this splendid reflection on the human condition. The male characters, the Don included, are rather superficial, even wimpy, compared to the wily, strong-willed and deeply sympathetic characters of the ladies.
Nov. 12-22, Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St.; Nov. 29, Centennial Hall, Haverford School, 450 Lancaster Ave.; Dec. 3, Central Bucks High School South, 1100 Folly Rd., Warrington; 215-735-1685.

Wolfgang Amadeus Mozart: The Magic Flute
The Magic Flute does not reach the levels of emotional complexity and plot development of Mozart's other famous operas, but it is probably the most entertaining. There is an undercurrent of Masonic moralizing (which got Mozart in trouble with his fellow Masons; they felt he was revealing secrets), but the main event is the three-ring circus replete with a zany bird man, slithering serpents and an evil Queen of the Night. The whole effect is rather like a Saturday morning cartoon, except that this one has a soundtrack by Mozart. Rossen Milanov is the guest conductor.
Nov. 17-20, Curtis Opera Theatre at Prince Music Theater, 1412 Chestnut St., 215-893-5252.

Giuseppe Verdi: Masked Ball
Verdi wrote three operas directly based on Shakespeare plays, but the structural and dramatic spirit of the great man, one of the idols of the 19th century Italian composer, is felt in all of his work, and quite strongly in this tale of love, politics and murder. There is even that favorite Shakespearean device, the fortune teller. Best of all, there is the music, from the height of Verdi's mature period, not a collection of popular arias, but a magnificent amalgamation of music, specific characterization and drama. The Opera Company of Philadelphia has shown great strength in Verdi over the last few seasons, with a string of world-class productions. The lineup for this Ballo bodes well for another success, including veteran OCP baritone Gregg Baker, as well as Angela Brown, Barbara Dever and music director Corrado Rovaris conducting. Robert Driver is the director.
Oct. 23-Nov. 6, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-732-8400.

Gioacchino Rossini: The Barber of Seville
It is amazing how durable comedy can be. Any decent production of, say, As You Like It, should regularly have the audience laughing out loud. Rossini, several centuries after Shakespeare, employed similar comedic technique in much of his work, namely slapstick and farce. There are, indeed, echoes of Laurel and Hardy's "Who's on First" routine in The Barber of Seville. Rossini, a rather lazy genius, churned out opera after opera with astonishing facility, retired at the age of 35, and spent the rest of his long life eating and drinking (eat your heart out). The Barber of Seville remains, by far, his best-known work, for good reason. It has not lost an iota of charm after thousands of performances, the orchestral writing is spectacular, and yes, it's really funny. The cast includes the superb comic bass-baritone Kevin Glavin as Dr. Bartolo, and conductor Corrado Rovaris, who first dazzled local audiences with his conducting of bel canto, is on the podium.
Nov. 5-20, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-732-8400.

Darius Milhaud: Les Malheurs d'Orphée Gaetano Donizetti: Il Campanello della notte
Leave it to Temple Opera to come up with the most intriguing repertoire choices for the local season. Here are two virtually unknown one-acters by well-known composers. Darius Milhaud, a French composer active in the first half of the 20th century, wrote saucy, even jazzy music, but little opera. Donizetti, the Italian link between Bellini and Verdi, wrote dozens of operas, but only a handful are in the repertoire, at least in this country. Temple has reliably offered opera productions of vivacity and charm, and strong musical values. Mark your calendars for an opportunity to explore a local musical treasure that deserves a higher profile.
Nov. 18 and 20, Temple University Opera Theater, Tomlinson Theater, 13th and Norris sts., 215-204-7600.