As the curtain rose for act two of Richard Strauss's opera Der Rosenkavalier, a gravelly voice somewhere behind me declared, "These colors please me." The set, an interior of a grand, 18th-century house gleamed with shades of white and washed-out, eggshell beiges. The singers, after a first act where the orchestra often covered up the voices, started to gleam, too, making this opera a must-see.

Unlike orchestra concerts, chamber-music gigs, or solo recitals, opera is the best place in classical music to watch a performer steal the show. As the Marschallin, Carol Vaness was good, but go to hear mezzo-soprano Alice Coote as Octavian, the Marschallin's frisky young paramour. As each of its three acts clock in at over an hour, Der Rosenkavalier can punish singers; yet Coote, who sings throughout the opera, sounded great in act three, singing in a robust (and damn funny) character voice in "Nein, nein, nein, nein! I trink' kein Wein."

In his eminently insightful new book, Opera Coaching: Professional Techniques and Considerations (Routledge), Alan Montgomery states that the role of Baron Ochs "is rhythmically difficult from beginning to end, spouting first instructions to a lawyer, then lecherous, leering jibes at Sophie, and then, later still, his pompous feelings of injustices against himself..." The Baron must be a fine singer and actor; Peter Rose was both, masterfully playing the bumptious Baron as a lusty, lewd (I hope he repeats the discreet yet shocking tongue-in-cheek gesture) over-the-hill rakehell.

The orchestra, conducted by Asher Fisch, played superbly albeit sometimes too loudly. Strauss's score is sumptuous, especially in act two; I adore the music that accompanies the presentation of the silver rose: Harp, oboe, and strings perfectly adorn the line, "It's heavenly, like a rose from Paradise..."

Catch the final performance of Der Rosenkavalier Sat Aug 26 (McCaw Hall, 321 Mercer St, 389-7676), 7 pm, $49—$135.