UTAH OPERA, Turandot, Capitol Theatre, March 15; through March 23, tickets at 801-355-2787, 888-451-2787 or www.utahopera.org 

Utah Opera’s Turandot is without question one of the best productions the company has staged in a long time. Everything comes together here: sets, costumes, lighting and singing. This is a lavish production on a grand scale, designed and directed by André Barbe and Renaud Doucet, that has played at several other houses before coming to Salt Lake City. Too often with this kind of opulent setting the visual element becomes the focal point at the expense of the singers. But that’s not the case here. At the risk of sounding repetitive, this cast is one of the best — if not the best — that Utah Opera has assembled. Turandot demands singers with prowess and imposing stage presence, and this group certainly delivers on both counts.

To be able to meet the demands Puccini places on the two principals, their portrayers need to possess voices of Wagnerian scope. And Utah Opera went the extra mile to procure two such vocal giants.

Soprano Maida Hundeling was stellar in the title role on opening night. She has a powerful voice that not only is impressive in its highest register, but in its middle and low ranges as well. And there is a wonderful expressive quality to her voice that brought finely modulated nuance to her singing.

Hundeling is also quite a remarkable actor. Her icy coldness in Act II cast a frigid cloud over the audience that was only dispelled in the closing scenes of the following act when she admits her love for Calaf. The warmth that Hundeling exuded at that moment was palpable well beyond the stage.

Tenor Jonathan Burton brought his immense vocal talent to bear as Calaf. He sang with beautifully crafted phrasings and wonderfully modulated expressions. He is a vocal powerhouse who handled his role with ease. He sang the opera’s most famous aria, “Nessun dorma” with finesse and élan. He and Hundeling are well matched vocally and they sounded magnificent together.

As Liù soprano Kelly Kaduce brought passion and gorgeously expressed emotions to her portrayal. Her singing was lyrically infused, although she was able to muster the power needed for her final scene in which she is tortured before committing suicide. She showed she could keep her own in Hundeling’s and Burton’s company.

Baritone Daniel Belcher as Ping and tenors Julius Ahn and Joseph Gaines as Pang and Pong, respectively, were outstanding. Their characters bring much needed humor to the story and the three were absolutely on the mark in their singing and characterizations.

In a smaller role, bass Richard Wiegold gave a compelling portrayal of Calaf’s blind and elderly father, Timur.

The opera chorus, was, as always, wonderful, as were the members of the Madeleine Choir School. Conductor David Agler brought depth and understanding to his interpretation, and the members of the Utah Symphony in the pit played with their customary excellence.