In their opening number, the three ladies of "Sopranorama," now in its eighth edition at Southern Theater, commit a delicious bit of self-mockery. With catty new lyrics to the Overture to Stephen Sondheim's "A Little Night Music," Maria Jette and Molly Sue McDonald celebrate the recent retirement of cohort Janis Hardy, only to have Hardy return in all her glory.

These are serious musicians who refuse to take themselves too seriously. It's their offbeat novelties, such as an extended vocal version of "Chopsticks," that demonstrate their talent and showmanship. In "Carmen's Boogie," an Andrews Sisters arrangement of Bizet's opera, they show their aptitude for tight harmonies. In "Sisters" from "White Christmas," they show off their skills at soft-shoe.

It might seem wacky to use an accordion to accompany Monteverdi's 1610 Vespers, but the decision proves inspired. More than the piano, the accordion captures the astringency of antique instruments. There is much thought behind all the zaniness.

The classical repertoire is represented with duets by Mendelssohn and Fauré and the world premiere of a hot-blooded song by "Nicolo Di Silva" (nom de plume of Dominick Argento). It's good to see early 20th-century French composer Reynaldo Hahn represented. His delicate, haunting songs are too little known.

In Noël Coward's "I'm So Weary of It All," Jette offers a lesson in acting with the voice. And in "Could I Leave You?" from Sondheim's "Follies," McDonald displays her chops as a consummate musical theater performer.

But it's Hardy who almost steals the show with the greatest Sondheim song you've probably never heard of, "I Never Do Anything Twice," sung by a Viennese madam in the movie "The Seven Percent Solution." The voice is not as fresh as it once was, but Hardy remains a first-class entertainer.

Vern Sutton is a most loving director, content to aim the spotlight squarely on his singers. Most of his work is simple and understated, and all the more effective as a result. He is aided by the creative lighting of Michael Kittel.

Throughout, Dan Chouinard makes an ideal accompanist. He is so self-effacing that it's possible to overlook how adept he is at all the eclectic repertoire.

The evening ends with a Carpenters medley, including "We've Only Just Begun." May that prove true. With any luck, "Sopranorama" will be around, in some form, for many years to come.

William Randall Beard is a Minneapolis writer.