Verdi's opera, Nabucco, presented for the first time by Cincinnati Opera in Music Hall Thursday night, is a supreme test of vocal resources, staging and design. It is rarely mounted in the United States, perhaps because of the logistics of this epic, its convoluted story and the need for a stunning singing actress as Abigaille.

        Director Nicholas Muni struck gold in the latter, with soprano Lauren Flanigan, a true warrior maiden who displayed fearless command of Verdi's treacherous vocal writing.

        In what became an overly lengthy evening Thursday (3 1/2 hours), the cast, chorus and orchestra were superb. But the crowd of 3,225 was oddly unresponsive to the opera's one hit, “Va, pensiero,” nostalgically sung by the chorus of Hebrew slaves.

        Unfortunately, the weak link was the production. After a thrilling Act I, it became mired in technical problems and lost momentum.

        Designer Peter Werner and Mr. Muni created two basic sets to tell the story of the Babylonian victory over the Israelites in the 6th century, B.C. For the Temple of Solomon, it was a circular floating wall inscribed with Hebrew text that created a powerful image.

        On the other hand, the conceptual, edgy design of the Babylonian world missed the mark when it came to representing the banks of the Euphrates or the Hanging Gardens called for in Temistocle Solera's libretto. Three lengthy scene changes in Act III brought the long tale to a grinding halt and many people left. When the curtain went up, not much had changed onstage.

        (At one point, yelling could be heard backstage when a stagehand's arm became caught in the hydraulic lift used to elevate Abigaille's throne. Fortunately, the stagehand was only bruised.)

        Some ideas worked better than others. Nabucco (sung by Lado Ateneli) entered the Temple on a “chariot,” pulled by slaves through the back wall, an effective display of egomania.

        But when he declared himself God, there was no lightning bolt. In his “mad scene,” when the floor split open, the effect was lost on most in the audience.

        That “rift” later served as the River Euphrates, which the Hebrew slaves, sans chains, drifted across in semi-darkness as they sang “Va, pensiero.” (They shared the stage, inexplicably, with Abigaille on her elevated throne.) It was an opportunity missed for a powerful image, and seemed lost in darkness.

        As Abigaille, Ms. Flanigan dominated the stage with her compelling dramatic ability and powerful vocal expression. She has an arresting voice that is capable of winning pianissimos, yet she can also navigate piercing high notes and two-octave leaps while flinging herself around the stage.

        When Abigaille, out for revenge, decided to overthrow her father, she tore off her red wig to a spiky blonde. Ms. Flanigan's Act III duet with Mr. Ateneli was a musical high point, where she alternately lolled on the floor and confronted her crazed father.

        Her emotional reach was tremendous, from the demanding “Anch'io dischiuso” of Act II to her dying “Su me...morente,” while sprawled upside down on the idol Baal's broken pieces in the final scene.

        Mark Doss made a commanding Zaccaria. His reflective solo in Act II, “Vieni O Levita” (Come, O Levite), accompanied by the cellos, was poignant and moving. Making his U.S. debut, Georgian baritone Mr. Ateneli was vocally expressive, but no actor. His big last-act aria, “Dio di Giuda” (God of Judah) was a convincing plea.

        Tenor Scott Piper stood out as Ismaele, and Carmella Jones projected a rich mezzo as Fenena. David Michael performed admirably as the High Priest of Baal.

        The real protagonist of the opera, though, was Henri Venanzi's chorus, whose well-blended textures dominated many scenes, despite being poorly lit. It was indeed a joy to hear the orchestra, where Edoardo Muller captured the Verdi style with exciting buildups, drama and power, and supported the singers warmly.

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