Cincinnati Opera’s deftly witty production of The Barber of Seville was as much fun as the Marx Brothers’ cinematic romp. Rodion Pogossov’s rowdy Figaro made his entrance from the rear of the auditorium, stopping to tousle his young daughter’s hair and kiss his wife on the way to the stage. But tenor Alasdair Kent’s ease with the score’s challenging coloratura stole the show. He sang the lovestruck Count Almaviva’s opening aria — which comes five minutes after the overture ends — with confidence, ardor and amazing control up and down those vocal runs. Bring him back! cincinnatiopera.org.