Anyone who would like to hear an absolutely brilliant opera buffa has a golden opportunity this weekend. For their annual operatic production, the Lowell House Music Society is fortunate to present the premiere of Divertimento by John Perkins '58. Mr. Perkins has succeeded in turning out a work which should take its place among the very best comic operas.

In approaching a form, which is extremely difficult to handle well, the composer has added to his problem by choosing to satirize the very form of opera buffa itself. The result is a complete triumph. Using his modest orchestra with facility and great wit, and demonstrating a sensitive awareness of the comic possibilities of vocal writing, Mr. Perkins has composed a score which is fully as funny as the satiric libretto by Wayne Shirley '57.

All of the conventions of the genre are utilized with unabashed audacity. The recitative and aria da capo turn up all over the place with genuinely satiric twists, as well as cadences which would have sent Rossini right out of the auditorium. The proceedings were further disrupted by the intrusion of a full-fledged jazz number. Mr. Perkins has an especially disarming command of dissonance, which he uses tastefully and moderately to underline the humorous aspects of the music.

But the great moment of the opera is unquestionably the superb quartet which comes near the end, and is everything an operatic ensemble ought to be. Technically, it is well constructed, while the hilarity of the situation combines with the very lyric beauty of the music to produce a kind of exhilaration which can only come in a climax to an extremely fine set piece.

The opera was performed last night with a flair which enhanced its entertaining qualities. Matilda Cole, as the wife, sang her florid part with an appropriately sly ease. Alan Rinzler seemed as though he was satirizing West Side Story more than anything else, but his delivery of two difficult arias more than compensated for his grotesque facial expressions.

Malcolm Ticknor, whose facial expressions were delightful and Arthur Papas contributed some very lovely singing, while O'Brien Nicholas' portrayal of the love-lorn newsboy was amusing and tender. The ensemble singing was, on the whole, very stylish.

The curtain-raiser of the evening was a rather disquieting short opera, The Poor Sailor, by Darius Milhaud. The libretto, by Jean Cocteau, is a weird, disturbing story which is reinforced by a sinister, but otherwise undistinguished score.

Miss Nicholas carried the entire work along with a steady flow of beautiful and seemingly effortless singing. Harvey White's husky voice added to the generally unhappy and dark tone of the piece.

The conductor of both works was Allan Miller, who stayed in firm command even when the going got rough. Among the instrumentalists, Joel Lazar's flute, Ralph Lane's french horn and Mr. Perkins' piano solos were particularly effective.

On a weekend crowded with theatrical productions, it would be unfortunate if this one were slighted. Mr. Perkins' opera deserves to be heard in what is hopefully the first of its many productions.