UTAH OPERA, SALOME, Abravanel Hall, Oct. 18; second performance Oct. 20, 2 p.m., tickets at 801-355-2787, 888-451-2787 or www.utahopera.org

Utah Opera opened its season last night with a powerful performance of Richard Strauss’ 1905 opera Salome, a work based on Oscar Wilde’s quasi-biblical 1891 play. Upon first entering the hall, one was struck by the work of stage director Kevin Newbury and costume and set designer Victoria Tzykun, who gave the Abravanel Hall stage a cosmic transformation without obscuring the orchestra. These additions included a modern looking moonlit room in Herod’s home, a large cistern in which Jochanaan is imprisoned and a glittering veil of stars and moons above. A large pale moon in the corner behind the orchestra provided depth to the scenery and artistic balance to the prison tower opposite the stage. The visual feast continued with costumes which complemented each of the characters nicely while still unified in their aesthetic; impressive wig and makeup design by Yancey Quick, fitting for the concert stage; and sensitive, atmospheric lighting by Nicholas Cavallaro.

Marcy Stonikas and Michael Chioldi

Artistic director Christopher McBeth is to be commended for creating such a believable cast and for understanding the value of using and promoting local talent alongside outstanding imports. While not all of the cast members’ voices seemed suited for such dramatic repertoire, the principle singers were well suited to their roles. Marcy Stonikas sang the role of Salome with great brilliance as well as subtlety, often revealing her character’s troubled psychology. Her movement onstage was luxuriously slow; and her constantly shifting gaze gave the impression that Salome sees but does not understand because her reality and morality are somehow warped.

The dance of the veils (or in this production, moons), played beautifully by the orchestra, would have benefited from more substantial choreographic material to match the music. Michael Chioldi’s moving performance as Jochanaan offered moments of striking beauty and warmth of tone; and Robert Breault, director of opera at the University of Utah, emanated great dramatic presence in his role as Narraboth.

Especially entertaining in this performance were the ravishing Victoria Livengood (Herodias) and immensely likable Jon Fredric West (Herod), whose voices soared over the orchestra. Livengood and West also provided a comic relief which was well-rooted in reality.

There were brief moments in the opera lacking intention where the staging did not create the desired effect or enough chemistry between characters. For example, while Salome’s last scene was brilliantly performed, less reliance on the infamous prop may have generated greater insight into the lunatic dénouement. These moments were few, however; and the vocal and dramatic choices by the artists served Strauss’ opera well. The sumptuous score was wonderfully realized by the orchestra under the direction of Stewart Robertson. Utah Opera’s successful production of Salome shows the viability of Abravanel Hall as the site of future operatic endeavors.