Brian Major as Amonasro and Courtney Johnson as Aida in Opera Maine’s production of “Aida.” Photo by Martha Mickles

Though the positive vibes of the Paris Olympics are filling the air, works of art can sometimes remind us that friendly competition has not always been the chosen path.

Director Dona D. Vaughn, conductor Israel Gursky, a large orchestra and a cast of professional and first-time performers from Opera Maine opened an impressive production of Giuseppe Verdi’s 1871 tragic opera “Aida” at Merrill Auditorium in Portland on Thursday night.

Mixing moments of visual spectacle with lots of very beautiful vocal and instrumental music, the three-hour show (including intermission) may have tried the spines of a few seated audience members. But, judging from the frequent strong applause, it lifted their delight in good opera.

The work’s action revolves around the ancient nations of Ethiopia and Egypt. Their large armies are engaged in a bloody conflict in which the latter has currently gained an upper hand. But love is also in the air as Aida, the daughter of the Ethiopian king and currently a captive of the Egyptians, has fallen for Radamès, an ambitious soldier who is unhappily betrothed to Amneris, the daughter of the Egyptian pharaoh.

Scenes featuring immense theatrical flair contrast with affectingly intimate passages as nationalistic and religious pomp surrounds delicate romantic feelings with parades, ceremonies and lovely, if slightly oppressive, choruses proclaiming the supremacy of this or that authority.

The tone is set early by Gursky and the orchestra in the pit at the front of the stage with the subtly evocative overture. There’s unease within the beautiful, slightly exoticized harmonies by Verdi.

Hyona Kim as Amneris in Opera Maine’s “Aida” at Merrill Auditorium. Photo by Martha Mickles

Taylor Comstock, as Radamès, then gets to frame his military ambitions and his love for Aida with a stirring “Se quell guerrier lo fossi … Celeste Aida.” Courtney Johnson, as the title character, follows throughout the show with her various heartfelt laments (“O patria mia” a highlight) as does the feisty Amneris, played by Hyona Kim, whose moving later solos had the crowd buzzing with appreciation. The members of the love triangle share the stage for an early preview of what’s to come and, later, a touching final moment.

The low male voices of Brian Major, as Aida’s dad Amonasro, Daniel Sumegi, as the priest Ramfis, and Matthew Anchel, as the Pharoah, add testosterone-infused moments of deep resonance as the conflicts between public duties and personal wishes grow ever more unresolvable.

Scores of often colorfully attired singers, dancers (in riveting but brief moments), soldiers, handmaidens and others arrive and depart the stage, including in the famous “Marcia trionfale,” which featured horns sounding from the Merrill balcony and an amusing visit from a faux representative of the animal kingdom.

Sets, costumes and lighting by Germán Cárdenas-Alaminos, Millie Hiibel and Jimmy Lawler, respectively, as well as the many other technical contributions to this major production, made this “Aida” one to be remembered.

A second and final performance of the Verdi masterpiece will be held at Merrill Auditorium at 2:30 p.m. Sunday.

Steve Feeney is a freelance writer who lives in Portland.