This 85th showing of Gianfranco de Bosio’s opulently traditional setting of Verdi’s Un Ballo in Maschera at the Staatsoper was accented by two significant debuts, namely those of Kristin Lewis as Amelia and and the young Maria Nazarova as Oscar.

The former is already known in the house for her Aida, which (rather like Leontyne Price in earlier years) has become something of a calling card for the American soprano internationally. This evening found Ms. Lewis in splendid voice - if a little sluggish to begin with, and with occasional vacuous moments where notes appeared reluctant to engage and gleam in accord within the line. She, however, delivered a winning 'Ecco l’orrido campo…' (and subsequent aria) and went on to crown the ensuing love duet with passion and true vocal aplomb. 'Morrò, ma prima in grazia' ranked with the best renditions I have heard internationally - poignant, superbly-phrased, and most affecting.

Maria Nazarova has undoubtedly added a further feather to her fledgling cap with this auspicious debut in what is to date her largest venue. Very petite, pert, and here rather a touch overblown in play (understandably considering the circumstances), the young Russian soprano made much of her scenes - and her two showcase arias in particular. Her light coloratura soprano carried well, was generally accurate in intonation - and, in all, this young artist showed unquestionable promise for a bright future.   

Ramon Vargas gave his State Opera debut in 1988, and can claim an illustrious line-up of successes in the house in subsequent years. His Gustaf III (Riccardo) still possesses many fine facets, above all a fine sense of lyricism - while yet exposing natural vocal attrition and a lack of former eloquence, particularly above the stave. A little more levity in 'È scherzo od è follia' would have been welcomed, but he made much of his Act 2 love duet with Amelia, and appeared to pull out all available stops for 'Forse la soglia attinse' - and, the final curtain again proved the audience’s continued devotion to this amiable artist.

As René Ankarström (Renato) George Petean brought the ideal vocal weight and colour to the role, impressing with a broad Verdian sweep to the line and an even-scaled mellifluous tone to underscore his solid dramatic interpretation. 'Eri tu che macchiavi quell’anima…' was one of the evening’s highlights.

Monica Bohinec was an unusually glamorous Ulrica - towering and commanding in demeanour and vocally producing all the necessary facets to bring the role to life, with a hint in her timbre reminiscent of Fiorenza Cossotto.

Manuel Walser left a positive impression in his debut as Christian (Silvano), while Dan Paul Dumitrescu and Alexandru Moisiuc   revived their rather formidable conspirators Count Ribbing (Sam) and Count Horn (Tom).

Alas, in the pit Jesús López Cobos appeared little inspired on this particular evening, often lacking vitality and an overall sense of shape and structure - cumulating in little more than a pedestrian reading within the context of the forces to hand.

Nevertheless, a solid repertoire evening and one not to be missed considering the line-up on stage.