Indianapolis Opera opens a new season with one of the freshest, most vibrant productions it has offered in years, largely with a cast making company debuts.

"Il Trovatore" is a demanding piece, what with its need for several strong lead singers and its potentially confusing simultaneous subplots that include a love triangle, a gypsy's plans to avenge her mother's death and questions about the identity of the title character, a troubadour.

However, Indianapolis Opera has risen to the occasion, offering a "Trovatore" bristling with drama and featuring several exciting company debuts, especially by the leading ladies.

Joseph Bascetta's stage direction offers passion and clarity, a smart combination that allows for thrills but also the potential to comprehend this convoluted story set at the Count di Luna's residence and at a gypsy camp in the mountains.

Opera artistic director James Caraher's recent conducting stint in Italy must have invigorated him. At Friday's premiere, the conductor's usual appreciation of Verdi repertoire was enhanced by even more attention to balance. In cases when the composer called for interplay between a soloist and the chorus, or doubled a solo vocal line in the orchestra, all contributions were equally clear.

Mary Elizabeth Williams gave a sweet, gradually heroic interpretation of Leonora, the noblewoman who loves the mysterious troubadour but is plagued by the Count's affection. Williams handled the demanding vocal role's complexities well enough. But her controlled, bittersweet, lyricism in Act 4 came across far better than earlier scenes when she sang at full volume, got tense and screeched a few high notes.

Laura Brioli turned in exemplary vocal and dramatic interpretations of the wild and wooly gypsy Azucena -- and one of the finest performances this company has offered in years. The Italian mezzo-soprano made her U.S. debut, offering a dark, rich, remarkably powerful "Stride La Vampa," in which the gypsy still dreams of avenging her mother's death.

Brioli worked up incredibly intense dramatic moments, expressing family loyalty, delusion and a furious fight to the finish.

As Manrico the troubadour (and Azucena's presumed son), tenor Arnold Rawls evolved from a gentle traveling singer into a fiercely conflicted soul, torn between his mother and his beloved Leonora.

Todd Thomas's Count di Luna was not a standout in this cast but was still deliciously evil, once he realized his love for Leonora was pointless.