But all soloists passed the test with full honors — and then some — in the production that premiered Saturday.

As Angelina — Rossini's Cenerentola, or Cinderella — mezzoTara Erraught unleashed an array of coloratura fireworks in a role that affords opportunities for vocal pyrotechnics like few others.

"Non piu mesta" — where Angelina, the prince by her side, announces that she forgives her cruel step-sisters and step-father — is considered one of opera's most difficult arias. No problem for Erraught. Her rendition perfectly mirrored Angelina's transition from a servant singing a simple ditty at the fireside to a princess in full embellished voice.

While he was describing the opera in general terms two centuries ago, feared Vienna critic Eduard Hanslick could have been referring to Erraught's performance when he wrote: "This ... Cinderella is in fact a Cinderella in clothing only; her singing brims over with pearls, velvet and silk."

A hard act to match — and as Don Ramiro, Angelina's prince, Dmitry Korchak was almost equal to the task.

"Almost," only because his light tenor initially threatened to get lost in the orchestra. But Korchak gained in confidence — and his voice in power — effortlessly pinpointing his high C's in "Si ritrovarla io giuro," as he declared that he will find the girl who so enchanted him at the ball, no matter what it takes.