Nothing succeeds like success. So what if the premiere of Rossini’s Il Barbiere di Siviglia (Teatro Argentina, Rome; February 20, 1816) was a fiasco? His fortunes recovered on the second night, and the world has never looked back. In staging the opera for 21st-century audiences of all ages, the Australian director Lindy Hume has had the wind at her back from the beginning. After its premiere in Brisbane, in 2016, it transferred to Seattle the following year. Figaro, barber and factotum, had the audience in his pocket from the moment he bounced out of the wings, “decked out,” in the words of an Oz critic, “in a bright purple jumpsuit and black headband looking rather like a cross between Prince and Elvis Presley” (and don’t forget his scarlet-banded vest). The current double cast has Sean Michael Plum and Luke Sutliff in the title role, on point to help Count Almaviva (Duke Kim or César Cortés) snatch the beauteous Rosina (Megan Moore or Taylor Raven) from the clutches of her grasping guardian (Kevin Burdette or Ashraf Sewailam). Valentina Paleggi conducts. —Matthew Gurewitsch