JERSEY GIRL: Soprano Mary Dunleavy, here in OCP's Abduction from the Seraglio. : Paul Sirochman

Dunleavy seemed both relaxed and excited discussing her first-ever Countess Almaviva in The Marriage of Figaro, an opera she adores and feels everyone can enjoy: "It's a masterpiece, a Rembrandt. It's a perfect theatrical arc, perfect in each act, with its own balance; the humor, the characters—there's just so much richness in it. It's still my mom and dad's favorite opera!" Dunleavy's parents came to opera through her, but her father had a beautiful voice and sang Irish songs and in barbershop quartets; she grew up listening to Frank Sinatra before succumbing to the Broadway shows her mother took her to. "My middle sister liked to sing too. We did gymnastics and were basically always putting on shows. I wanted to be Julie Andrews."

The noble Countess—whose jealous husband is philandering, avidly pursuing her maid, Susanna—has gotten her acting juices flowing: "I love the character, her story and her arias. It's odd sometimes to be singing the middle in ensembles, and to be below Susanna [the other soprano role, sung by Christine Brandes]. It's probably the first harmonizing I've had to do in opera—since I was a little girl I've been singing the top line." (Dunleavy's top notes include the high F's required for Mozart's Queen of the Night in Magic Flute, though she's retired the role in favor of the opera's heroine, Pamina, a bigger dramatic challenge that she met very well in the Met's Julie Taymor-styled production this January.) "That's what I enjoy: having drama mixed in with the music, to trace the dramatic arc of a role. I loved singing Susanna—I still breathe along with Chris! But I feel a real connection with the Countess, I love digging into this role." Dunleavy loves going to a work's literary sources, in this case Beaumarchais' revolutionary play of 1778.

Not much attracted by recital work, Dunleavy adores the stage. "I love to faint and I love to die. Dying in Traviata is probably my favorite." Verdi's consumptive, romantic Violetta seems likely to take Dunleavy to even more operatic capitals than she's already conquered after excellently received Traviata performances at San Francisco Opera and (just this spring) at the Met, where she alternated with high-profile diva Angela Gheorghiu. "When you appear in a show someone else has rehearsed, it's a challenge to create something of your own and yet respect and interact with your colleagues. Definitely a sports analogy: Keep focused on your game." (She and her husband, who met at the University of Texas, are huge Texas football fans.) One hopes Philadelphia will hear her in Traviata, and in two splendid Massenet pieces seemingly foreordained for her vocal strengths, physical charms and stylistic savvy: Manon (which she knows but has never had the chance to do) and the steamier Thaîs (in which she triumphed in St. Louis). Maybe she'll even be cast opposite OCP favorites William Burden (Manon) and Stephen Powell (Thaîs)? Just hinting. Meanwhile, you have six chances to enjoy this down-to-earth but definitely rising soprano's latest creation, set to some of Mozart's sublime music.

The Marriage of Figaro, Fri., May 5, 8 p.m.; Sun., May 7, 2:30 p.m.; Wed., May 10, 7:30 p.m., $6-$177, through May 21, Opera Company of Philadelphia, Academy of Music, Broad and Locust sts., 215-893-1999, www.operaphilly.com.