By Sebastian Spreng, Visual Artist and Classical Music Writer From Bellini to Delius – and counting Prokofiev’s ballet and Bernstein’s West Side Story – the lovers of Verona have been an inexhaustible source of inspiration. Tchaikovsky, Berlioz, Svendsen, Stenhammar and Nino Rota are only some of the composers who fell under the spell of Shakespeare’s immortal play. Nevertheless, Gounod’s Roméo et Juliette does the best job of telling the story from an operatic standpoint and has gained the widest acceptance because of its romanticism which, though somewhat sugary, provides the ideal emotional framework for the tragedy. Barbier and Carré’s libretto centers the action almost exclusively on the lovers, two exhausting and demanding roles for tenor and soprano, entailing a succession of lovely arias. Fortunately, the Florida Grand Opera’s current version has tightened the plot by doing away with superfluous scenes.

It was a good choice for the FGO to cap off its 2011-2012 season by staging Gounod’s opera at the Adrienne Arsht Center for the first time. (The last time Miami saw it, was in 2004 at the old Dade County Auditorium.) The packed house on opening night cheered a production that seemed to work in every department. The set designed by Erthard Rom allowed the action to flow without interruption and depicted a stylized, timeless Verona, vaguely inspired by the architecture of the Quattrocento; in its modernity reminiscent of Giorgio De Chirico’s and M.C. Escher surrealistic images Against this backdrop, Rom projected attractive visual effects (images of water for the lovers, of fire for the rival families) and Pre-Raphaelite imagery. Only a redundant moon detracted the simple but effective set from its magic. The addition of dancers to the prologue and the balcony scene, did not help either and distracted from the musical discourse. This is a trendy feature that is showing up in opera productions everywhere, with the goal to entertain audiences rather than made them appreciate the musical virtues of the score.

Nevertheless, these are minor flaws in a production that is the season’s best. It is topped off by an excellent performance of the FGO Chorus directed by John Keene, who opted for soft singing at the beginning to forewarn the audience of the tragic events to come.

Conducted by Joseph Machavich, the orchestra – gaining confidence each the season – performed admirably, never drowning out the singers. Under David Lefkowich’s direction the cast, many of them young FGO artists, was dependable. Tenor Daniel Shirley had just the right metal in his voice for Tybalt, Craig Colclough was gravely as Frère Laurent and Cindy Sadler was resonant as Gertrude as efficient were Graham Fendrei’s Paris, Joo Won Kang’s Duke and Courtney McKeown’s Stéphano. A special mention goes to Jonathan Michie, a former FGO young artist, whose Mercutio revved up the engines at the beginning with Queen Mab’s song and performed brilliantly in the swordfight, where also both Montaigus and Capulets displayed unfailing skill.

The young cast backed up the two physically ideal ill-fated lovers. Right on target, Romeo’s youthful cheerfulness and eagerness contrasted with a pensive, more mature Juliette, who seemed to foresee the upcoming tragedy.

Playing his first Romeo, French tenor Sébastien Guèze, 31, had the right physique-du-role, moved well onstage, stamina and added a welcomed perfect French diction. Romeo is a tour de force for any tenor; he met the challenges of the aria “Ah! Léve-toi, soleil” and played a superb final scene. In a world practically devoid of French tenors, Guèze is a name to watch.

More experienced as Juliette, María Alejandres, 28, was the night’s revelation. Having sung the role in Covent Garden, Lausanne and La Scala, the Mexican soprano displayed amazing vocal security. Her velvety voice boasts an unusual sweetness in lyric-coloratura sopranos. This is not the usual chirpy Juliette, but one reminiscent of a young Barbara Hendricks in its determination, emotional force, good French and vocal inflections. Alejandres crowned her performance with a powerful “potion aria.”  Luckily, FGO made sure this young star would return, signing her for La Traviata next season.

It was a memorable and emotional opening night that served as an appropriate final curtain for Robert Heuer, who is retiring after 33 years with the FGO and 26 as its general director and CEO. Emotional indeed.

Florida Grand Opera’s production of Roméo et Juliette runs through May 5 at the Arsht Center for the Performing Arts in Miami and May 10 and 12 at the Broward Center for the Performing Arts in Fort Lauderdale. fgo.org, 800-741-1010.