COSÌ FAN TUTTE, de Jong Concert Hall, Harris Fine Arts Center, Brigham Young University, Oct. 25; through Oct. 27, tickets at 801-422-4322 or www.byuarts.com

The three operas that W.A. Mozart wrote to Lorenzo da Ponte’s libretti (Le nozze di Figaro, Don Giovanni, Così fan tutte) are gems of the genre that long ago have stood the test of time. There are reasons galore why these works are part of any opera company’s standard repertoire: the plots are witty; the stories are meaningful; and the music is fabulous.

So it’s always a distinct pleasure whenever one of them pops up locally. And right now Brigham Young University is wrapping up its run of Così fan tutte, which, in its well conceived staging by Lawrence Vincent, avoids the all-too-common pitfall of being silly. Vincent makes the most out of the characters’ disguises, to be sure, and it’s hilarious without being ridiculous.

The production is double cast (triple cast in the case of the three female roles), and Thursday’s ensemble will sing the final performance Saturday evening. This is a strong cast in both singing and acting. In fact everyone shows a remarkable flair for comedy and comedic timing.

The three men are superb. Tenor Jubal Joslyn (Ferrando) has a fluid and light voice that is well suited to the demands of the role. Baritone Ross Coughanour’s voice (Guglielmo) is equally lyrical and is wonderfully resonant. Baritone Brandtley Henderson (Don Alfonso) sings his part with seamless lines and brings depth to his character.

The three women are just as outstanding. Soprano Carli Downs’ voice (Dorabella) is endowed with a delightful lightness, but can also be powerful and project when called for. The same holds true for soprano Melissa James (Fiordiligi). And when they sing together the result is mesmerizing. There is a great deal of depth and expressiveness in their singing.

But soprano Keri Costello really steals the show as Despina. Her portrayal as the pragmatic maid who knows how to get on in the world despite her menial position was spot on.

The chorus sang well and the BYU Chamber Orchestra, under Kory Katseanes, played with finely crafted articulation and nuance.

This is without question one of the best opera productions at BYU in a number of years. It’s not to be missed.