The two tragedies featured basically conventional sets and costumes (by Nicholas Vaughan); "Gianni Schicchi," a tale of greedy folks in 13th-century Florence trying to get back into a deceased relative's will, got a delicious update to our own time. There were clever ways around what would have been major anachronisms; the most problematic, a mule that the medieval Florentines especially coveted, was turned here into a Damien Hirst-like, animal-in-formaldehyde sculpture. Kerley drew from the sparkling cast a true ensemble effort. A strained high note or two aside, Corey Crider sang the title role in robust voice and acted up a storm. Joyce El-Khoury made a lovely sound as Lauretta, shaping the opera's hit aria, "O mio babbino caro," with a refreshing naturalness and producing a sweet tone in the process. (Having her give the thumbs-up sign to her boyfriend midway through the aria, as she sensed her father caving into her request, was a fun touch). Gawyrisiak was again in great form, this time as Zita. Borichevsky sounded taxed in the upper reaches, but otherwise shone as Rinuccio. Tharanga Goonetilleke, as Nella, stood out for her sweet, pure tone.