"AIDA" and "MANON LESCAUT," Utah Festival Opera, Ellen Eccles Theatre, Logan, in repertory with "1776" and "Into the Woods," through Aug. 9 (435-750-0300 or 800-262-0074)

No elephants cross the stage in the Utah Festival Opera's production of "Aida." You don't miss them at all. Rather than the spectacle that it has become, this production celebrates the Verdi's original intent as a "chamber opera."

It wasn't until UFO director Michael Ballam saw the production on a 14-foot stage in Italy, that he realized you don't need the spectacle, you need the passion. He's to be commended for that foresight, which has resulted in an exceptional treat.

Ultimately, "Aida" is a story of human emotion — jealousy, revenge, regret, and above all, love — set to a glorious score.

The same can be said for Puccini's "Manon Lescaut," the other opera UFO is presenting this season, which is imbued with similar human sentiment — as well as the willingness to die for undying love — done to music that can stir the soul as well.

• "Aida," one of Verdi's best-known and best-loved operas, tells the story of an Ethiopian slave, Aida, serving the Pharaoh's daughter, Amneris. They both are in love with Radames, commander of the Egyptian army. But Radames loves only Aida. That love leads him to unwittingly betray his country, but rather than renounce his love and marry Amneris, he chooses to die as a traitor.

The cast that UFO has assembled for the production has international flavor and stellar quality. Marie-Adele McArthur, a native of New Zealand, excels as the slave Aida, not only with her strong, beautiful voice, but also with her ability to capture the conflict Aida feels between loving Radames and loving her father and her homeland.

Lisa van der Ploeg, from Denmark, is equally adept as Amneris, who starts off haughty and proud but ends up despairing decisions she has made. The scene where she comes to grips with her choices has a powerful impact.

Arthur Shen also brings depth of emotion, as well as a gorgeous tenor voice, to the role of Radames. His opening aria, where he proclaims his love of Aida to the gods, leaves no doubt of his feeling. And the scene at the end, where he finds that his love has crept into his tomb to share his fate, is gripping. It's not surprising that this is one of the most potent scenes in all of opera.

The voices of the three principals blend beautifully on duets, and since the score gives them one aria after another, there's a lot of gorgeous singing going on.