Unlike the Shakespeare play, Juliet awakens for one last duet before Romeo dies in Gounod's opera, Romeo and Juliet.

        The final love duet in the crypt between soprano Dina Kuznetsova and tenor Fernando de la Mora was one of the highlights Thursday of Cincinnati Opera's Romeo and Juliet, which opened the season, the company's 30th in Music Hall. Unfortunately, although the singers were excellent, the production limped out of the starting gate, and the love match was not nearly as steamy as James de Blasis' production of 1994.

        Inconsistent staging, a gloomy set, unsubtle conducting and murky French made for a lackluster start.

        The night, it seemed, belonged to Ms. Kuznetsova. Singing her first Juliet in her company debut, the Russian-born soprano was a standout as she grew convincingly in her role from sweet innocence to her tragic farewell. At 29, she projected the kind of voice that anticipates an important career ahead of her: fluid coloratura, beautiful line and impressive power in the high register.

        She also exuded a lovely presence, winning hearts from her Act I ariette, ""Je veux vivre,'' where she tossed off the demanding flourishes with charm. Her high notes were chilling as she summoned the courage to take the potion (""Amour ranime mon courage”) traveling from desperation to terror and finally, resolve.

        Mr. de la Mora, a native of Mexico City, was a tender if not entirely convincing Romeo, who moved easily in the role and projected the romance of his great Act 2 aria, ""Ah! leve-toi soleil!” Although well-phrased and stylistically lovely (with memorable contributions from clarinetist Anthony McGill), more heft in the high notes might have given the moment impact. His final scene in the crypt (""O ma femme”) was beautifully felt.

        Together, they made a magnetic pair in the bridal bed duet (""Nuit d'hymenee”), where their voices intertwined wonderfully and the orchestra, led by Daniel Beckwith, provided gentle support.

        Canadian baritone Jean-Francois Lapointe was a swashbuckling Mercutio, with so much charisma you hated to see him killed. His Queen Mab ballad was charged with wit and personality.

        Equally convincing was Scott Piper as Tybalt, whose duel with Mercutio was well executed — although the surrounding chorus was given nothing to do. The strong cast included Fernand Bernadi as Friar Lawrence, who communicated with warmth; Gidon Saks, an imposing Duke of Verona; and Michael Mayes as Count Capulet.

        Winning performances also were turned in by Elizabeth Grohowski as Juliet's nurse, and Frankie Hatcher as the page Stephano, who was perky in the turtledove song.

        The chorus, prepared by Henri Venanzi, provided robust color and the evening's clearest diction.

        Still, the sum of its parts didn't add up to a glowing whole. Though the period costumes were lavish, the set, designed by Claude Girard for L'Opera de Montreal, was dark and dated. Paula Suozzi's direction was static in the opening scenes, not picking up steam until the duel. Some scenes didn't work. Paris (Todd Simpson) went largely unnoticed until Romeo killed him in the crypt (an odd inclusion), and the final scene lacked pathos as the lovers fell opposite each other.

        The conductor Mr. Beckwith only partly balanced the lyrical and dramatic elements, and coordination was sometimes off between pit and stage. The Cincinnati Symphony Orchestra seemed to pick up expression and color as the evening progressed.

        The production had the traditional cuts of the wedding processional and ballet; its five acts were compressed into three, making for a lengthy — 100 minute — stretch for the audience of 2,674 before Thursday's one intermission. (Another intermission was to be added for Saturday's performance.)

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