Most telling is his avoidance of reaching for big effects merely for show. Every movement and gesture makes its point in a seamless flow that sweeps the viewer along on an emotional ride, making one forget that the performers aren’t speaking, so vivid is the drama.Melissa Podcasy radiates youthful innocence and impetuous determination as Juliet, fleshing out the character with dozens of insightful moments, such as her impatient anticipation of the sleeping potion’s effect. Timour Bourtasenkov invests his Romeo with dignity and romantic ardor, matching Podcasy’s depths of characterization.Their three big pas de deux were rightfully the centerpieces of the production, breathtaking and exhilarating. Marin Boieru charms the audience with his cocky Mercutio, while Jennifer Clagett delights with her warm, humorous Nurse.The two fight sequences have been excitingly staged by Jeff A.R. Jones against the beautiful, stage-filling sets by Thomas Mauney The use of the movable columns for cinematic effect is a novel feature. The sumptuous, glittering costumes from Judy Adamson and the dramatic lighting by Ross Kolman complete the stunning stage picture.Another level of triumph is the playing of the North Carolina Symphony. Prokofiev’s brilliant score requires the fullest range of orchestra] virtuosity, and under the astute and subtle direction of Alfred Sturgis, the symphony has simply never player better. Sturgis found the gossamer transparency of the love music and fleeting speed of the fight scenes with the assurance of a seasoned ballet conductor.This has been a signal season for Raleigh and the Triangle, There is no doubt that we now have the professional triple crown that any metro area aspires to: opera, symphony and ballet.

We have arrived.