Mozart’s Mitridate is rarely performed even though its 1770 debut ran for 22 shows. The opera itself is his fifth theatrical work. (The first, a Singspiel Die Schuldigkeit des ersten Gebots (1766) preceded his first opera Apollo et Hyacinthus (1767). In Mitirdate, the 14-year-old Mozart, already had mastered the idioms of orchestration, though of course he would continue to refine his vocal lines and text setting. With recitatives that lack natural inflection, and vocal lines that fly between the extremes of the singers’ ranges, this score puts its vocalists to the test, demanding technical and musical prowess.

At the Cutler Majestic Theater over the weekend, Boston Lyric Opera’s bold attempt at bringing this work back into cannon came with star-studded leads — featuring opera names such as Brenda Rae as Aspasia, John Holiday as Farnace, and Lawrence Brownlee in the title role. Rounded out by Vanessa Goikoetxea as Sifare, Angela Yam as Ismene, Charles Sy as Marzio, and Alexis Peart as Arbate, the cast was strong all around.

Under the music direction of David Angus, the proceedings began with stately and well-balanced tones from the orchestra, and Agnus balanced dynamics admirably between orchestra and cast. Brett Hodgdon on continuo masterfully traversed the recitatives through unexpected twists.

BLO set the opera in a non-specific modern-day adaptation. Far removed from Mozart’s 63 BCE setting, Molly Irelan costumed the players in double-breasted suits, satin blouses, and pink and blue gowns replete with tulle and fluff. Accessories such as gloves adorned the characters, adding an additional layer of drama to the exposure of their bare hands and the intention of their touch.

Stage Director James Darrah used video projections across a stark white back wall relieved only by Roman-style busts (perhaps a nod to the original concept?) Despite working with a thin plot, Darrah created a staging concept rich with color and metaphor. Appearing in various hues (often associated to the character interacting with it) threads, strings, and ribbons made their way to the stage from all directions and even through the set wall; these served as metaphors for the struggles, and connection, and entanglements of the characters.

BLO altered the English surtitles from the original Italian libretto better to fit the narrative of this production; some unexpected laughter ensued from the well-timed slides.

Angela Yam in the role of Ismene often turned this Opera Seria into Opera Buffa. Adorned in a pink ball gown and bouncy blonde curls, Yam seemingly channeled a Disney princess, turning her into a larger-than-life Hollywood brat. Her bold expressions produced laughter and eager anticipation of her next episode of bratty anarchy.

Spinning this work into our time, Vanessa Goikoetxea in the role of Sifare (now Mitridate’s daughter) expertly depicted the conflicts between duty to her father and her love affair with Mitridate’s betrothed. Goikoetxea struck a balance of humor, sensual love, and conflict giving her a relatability. The duet between Sifare and Aspasia (Brenda Rae) “se viver non degg’io” was filled with heightened emotions and flying vocals. The pair’s fiery staccato runs and the a cappella section before the final cadence showed off both Rae’s and Goikoetxea’s chops.

John Holiday convinced, charmed, and broke our hearts as the power-hungry son Farnace. He started with immediate likeability in his childlike banter with sibling rival (Goikoetxea). His tones impressed us with ring and vocal clarity. With flawless coloratura he sounded musical and entertaining. By his final aria, he was projecting heartfelt lines that lured us in effortlessly supported, sparkling pps that glistened through the hall and left us enthralled through a heartbreaking plea to his father.

In the title role, Lawrence Brownlee delivered a profound interpretation as the patriarch. We awaited his entrance with great anticipation, as graphic images of Brownlee’s silhouette teased us in expectation of his arrival. From the moment Brownlee stepped on stage the energy changed and he commanded the room. Brownlee’s portrayal stood out as a real man surrounded by a slew of over-the-top characterizations. And when he sang, time stood still. Brownlee captured the attention of every living soul. He delivered his first aria with mastery of voice and form, bringing tears to my eyes for the sheer beauty, and he earned a grateful solid minute of applause and cheers at the close. Brownlee continued to impress, navigating five arias that put technical precision to the test. Traversing demanding vocal writing that explored the extremes of the tessitura, Brownlee executed with precision. He made it all sound easy and natural.

The romantic affair between Sifare (Mitridate’s daughter) and Aspasia (Mitridate’s finance), and the failed romance between Farnace (Mitridate’s son) and Ismeme (Parthian Princess) took primary focus in this adaptation, grievously ignoring the important conflict behind all the turmoil: the battle between Rome and Pontus. This glossed-over plot point made some character relationship hard to establish. The projected text focused away from the Italian libretto, catering to certain characters’ development over others, and leaving us with an unpolished ending. In the original plot, Sifare and Farnace forgive the tyrannical offenses toward their father and join his side in defense of Nymphæum. In defeat against the Romans, Mitridate refuses offer satisfaction to the enemy and commits suicide. His final aria forgave and blessed his children, inspiring the four to join in their father’s mission to free themselves of Rome. BLO’s adaptation instead had his children moving to rise against him and Farnace murdering him. Despite this substantial plot change, Mitridate’s final aria still reflected the original concept of death by his own hand. This inconsistency between the concept, original plot, and subtitles left us with a bit of confusion about what was really going on and the characters’ true intentions at this point. The cast still delivered a moving death scene for our ill-fated lead, but the final chorus, which should have uplifted and reunited with reinvigorated spirit, instead felt out of place, and left us unsure how we came to the point in the story. We didn’t quite get a satisfactory resolution.

BLO’s Mitridate nevertheless thrived with plush vocalism and striking imagery. Laced with humor, color, and special effects, the show aimed to relate to a modern audience. Across the board the singers impressed with their artistry. With five more productions to come this season, we await what BLO will cook up for us next.

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